-%; 



I' 



A RECORD 



OF 



THE BOSTON STAGE. 



WILLIAM W. CLAPP, Jr., 

EDITOR OF THE "BOSTON EVENING GAZETTE." 



BOSTON AND CAMBRIDGE: 

JAMES MUNROE AND COMPANY. 
MDCCCLIH. 






Entered according to Act of Congress, in the year 1853, by 

WILLIAM W. CLAPP, Je. 

in the Clerk's office of the District Court of the District of Massachusetts 



CAMBRIDGE ! 
ALLEN AND FARNHAM, PEINTER8 






PKEFACE 



34 

The following pages were originally published in 
the Boston Evening Gazette, and the favor extended 
to them by the public has induced the writer to present 
them in a more convenient form, for reference and 
perusal. Many corrections and considerable additions 
have been made, since they first appeared; and, by 
the kindness of friends, many material facts relating 
to the progress of the Drama have been obtained. 

The sources of information from whence the facts 
have been obtained, were the most authentic; and 
it has been the writer's endeavor to present to the 
public an interesting sketch of the progress of the 
Drama in this city, from the earliest times to the 
present day. How far he has succeeded, the reader 
will judge. 

Boston, 1853. 



CONTENTS 



CHAPTEE I. 

Introductory Remarks. — First Performance in Boston. — Law 
against Theatricals. — Amateur Theatricals. — Burgoyne's Play. 
— Attempt made to Eepeal the Law against Theatricals. — The 
Exhibition Room in Board Alley. — Opening Bill. — " Moral Lec- 
tures." — Trouble at the Theatre. — Arrest of Harper, and Trial 
in Faneuil Hall. — Death of Governor Hancock. — Charles Stuart 
Powell, and his "Evening Brush for Rubbing off the Rust of 
Care." — First American Play. — Origin of the Federal Street 
Theatre. — A Curious Pamphlet, .... Page 1 



CHAPTER II. 

Opening of the Boston Theatre. — Description of the Building. — 
First BUI. — Snelling Powell. — Mrs. PoweU. — The Prize Pro- 
logue. — The Early Critics of Boston. — Col. J. S. Tyler's Manage- 
ment. — The New York Company. — Hodgkinson and Hallam. — 
First Performance of Macbeth. — Death of Joseph Russell. — 
Anecdotes of Cleveland, and " King Kenny." — Biographical 
Sketch of John Hodgkinson. — The Introduction of Various Cus- 
toms. — Respect of the Managers for Religion, etc. etc. . 18 



CHAPTER HI. 

Success of the Theatre under the Boston Company. —Pit Tickets 
Counterfeited. — Management of J. B. Williamson. — A New The- 
atre talked of. — Proposals for building the Haymarket. — Induce- 
ments held out by C. S. Powell. — Legerdemain. — Arrival of Mr, 



VI CONTENTS. 

and Mrs. G. L. Barrett. — Mrs. Whitlock. — Mr<=. Rowson. — 
Opening of the Haymarkct. — First Appearance of Mr. Dickson. — 
Biographical Sketch of Mr. Dickson. — Jealousy of the Rivals. — 
John Burk. — IIi> Play of Bunker Hill. — Anecdotes of the Play. 

— John Adams, Critique. — Proposed Launch of the Frigate Con- 
stitution, :in<l a Managerial Coup de Theatre. — A Patriotic Song. 

— Destruction of the Federal Street Theatre by Fire. — Mr. Dear- 
born's Rooms. — Bowcn\s Columbian Museum. — An American 
Yauxhall. — Proposals made by the Fanatics. — Wisdom of the 
" Solid Men of Boston," 84 



CHAPTER IV. 

Visit of Cooper to Boston. — A Biographical Sketch. — Incidents of 
his Life. — Anecdotes. — His Death. — The Learned Pig. — Open- 
ing of the Federal Street Theatre. — Visit of President Adams to 
the Theatre. — Debut of Master George Barrett. — Death of Wash- 
ington. — Observances at the Theatre in Philadelphia. — Obsequies 

in Boston. — The Monody at the Theatre. — Mr. Whitlocl. 

agement. — Mr-. Jones. — George Barnwell. — Anecdote. — Piaar- 
ro. — Row at the Theatre. — The gloomy Days of the Drama, 01 



CHAPTER V. 

Tragedy in Real Life. — Powell and Harper's Management. — Mr. 
Cromwell. — Success of the Theatre. — Munroe and Francis. — 
Edition of Shakspeare. — Closing of the Haymarket. — Its Destruc- 
tion. — Mrs. Darley. — Mr. Dickson's Sir Anthony Absolute. — 
Mr. John Bernard. — A brief Sketch. — Death of Hamilton. — 
Fox. — Cooper's First Appearance at the Boston Theatre. — 
"Cooper or no Play." — Row at the Theatre. — The Benefit 
Season. — Mr. Bernard's Return to England. — Non Arrival of the 
Vessel. — Master Loring. — Hon. Mrs. Twistleton. — Mr. Caulfield. 
— S. P. Q. A. — The Columbian Museum, etc. etc. . . 76 



CHAPTER VI. 

Mr. James Fennell. — Mr. C. S. Powell. — Benefit for the Lunatic 
Asylum. — Readings from Shakspeare. — Mr. "Webster. — Mi-. 
Twaits. — Appearance of the celebrated Mrs. Warren, (Miss 



CONTENTS. Vll 

Brunton). — Biographical Sketch. — Mr. Cooper. — Harwood. — A 
Joint Engagement. — Criticisms of Robert Treat Paine. — Remarks 
upon Mr. Cooper and Mr. Fennell's Acting. — A touch at Pseudo- 
critics. — The Embargo, etc. etc 88 



CHAPTER VII. 

John Howard Payne. — Mr. and Mrs. Darley.— Mr. and Mrs. 
Claude.— William Charles White. —First Production of Forty 
Thieves. — Mr. and Mrs. Duff. — Mr. and Mrs. Samuel Drake. — 
Anecdote of Morse. — George Frederick Cook's First Appearance 
in Boston. — A Biographical Sketch. — His Last Appearance on 
any Stage at Providence, etc. etc. ..... 101 



CHAPTER VJJ1. 

Cooke's Last Engagement in Boston. — Entwistle and Cooke hors 
du combat. — The Burning of the Richmond Theatre. — The War 
of 1812, and its Effects on Theatricals. — Cooke in Providence. — 
Anecdotes. — The Play of " A New Way to Pay Old Debts." — 
Commemoration at the Boston Theatre of the Capture of the Guer- 
riere by the Constitution. — Mr. and Miss Holman. — Sketch of 
Holman. — "Timour the Tartar." — Commemoration of Perry's 
Victory on Lake Erie. — Great Fire at Portsmouth, and Benefit. — 
Visit of Commodore Perry to the Theatre. — Anecdote of McKen- 
zie. — Visit of Commodore Stuart to the Theatre, etc. etc. 126 



CHAPTER IX. 

Early Circuses. — Pepin & Breschard. — Anecdote. — Mrs. Mestayer. 

— Gas Lights. — Mrs. Moore. — Mrs. Williams. — Guy Mannering. 

— Mr. Pelby. — Frederick Brown. — Hilson. — Charles Incledon. — 
Several Anecdotes of him. — His Last Song. — Mr. Phillips. — 
Mrs. Powell. — Early Criticisms. — Puffery, etc. etc. . 142 



CHAPTER X. 

The Season of 1818-19. — First appearance of Mr. James' W. Wallack 
in Boston. — A Sketch of his Life. — Mr. and Mrs. Bartley. — Their 



Ill CONTENTS. 

troubles in Connecticut. — Anecdote of Mrs. Bartley. — Mr. John 
N. Bernard. — Dykes. — Cooper. — Mr. Fred. Brown. — Jos. T. 
Buckingham. — Robert Manners. — Philo-Dramatic Society. — In- 
troduction of Camels, 154 



CHAPTER XI. 

A Sketch of the Life of Edmund Kc:tn. — His Early Days. — First 
Appearance on the Stage. — Miss Tisdale. — Hi- Performances in 
the Ring. — Anecdotes. — Appearance in London. — Marriage. — 
Leo, or the Gipsey. — His Family. — Kcan and Arnold. — Charles 
Kean, etc. etc .167 



CHAPTER Xlf. 

Kean's First Appearance in Boston. — The Rush for Tickets. — The 
Premiums given to Charitable Societies. — Kean's Receipts. — Mr. 
Thayer. — Master Ayling. — The Sea Serpent. — Death of Mr. 
Bray. — Death of Snelling Powell. — Last Appearance of Mr. 
Dickson. — Kean's Return to Boston. — His Troubles. — The Ec- 
centric Kemble. — Squibs at Kean, etc. etc. . . . 180 



CHAPTER XHI. 

The Act of Incorporation. — Tom Kilner. — Labasse. — Samuel Wood- 
worth. — Boston a City. — Booth's First Appearance in Boston. — 
Biographical Sketch of Booth. — Remarks on his Acting. — Appear- 
ance of Miss Elizabeth Powell. — George Barrett. — Announcement 
of Mr. Finn's Appearance. — A Biographical Sketch of Henry J. 
Finn, etc. etc. 194 



CHAPTER XIV. 

Charles Mathews in Boston. — His First Appearance. — Sketch of 
his Life. — Anecdotes. — His Libel Suit. — Arthur Keene. — 
Adams. — Coleridge's Remorse. — Booth, "No New York Man- 
agers here." — The City Theatre. — Joe Cowell's Troupe. — " Tom 
and Jerry" brought out. — The Shakspeare Jubilee. — The 
Prize Ode. — Report of the Committee. — Presentation of the 
Pitcher to Charles Sprague, 208 



CONTENTS. 



CHAPTER XV. 

The Shakspeare Jubilee. — Compliment to the Author of the Prize 
Ode. — Conway. — Visit of Lafayette to Boston. — Ebenezer Bai- 
ley, Esq. — Bunker Hill Monument. — Enterprise of Newspapers. 
— City Theatre. — Kean Announced to Appear. — His Troubles in 
England. — His First Card. — First Appearance in New York. — 
His Apology to the Boston Public. — Preliminaries. — The Great 
Kean Biot, etc. etc 219 



CHAPTER XVI. 

The City Theatre.— Mselzel's Automaton Chess Player. — Mrs. 
Pelby. — Williamson. — Mrs. Hamblin. — Forest. — Macready. — 
Macready's First Appearance in Boston. — Tickets at Auction. — 
Paul Pry. — First Appearance of Edwin Forest. — Receipts. — A 
Sketch of Edwin Forest, etc. etc 238 



CHAPTER XVH. 

Macready's Reappearance. — Mrs. Knight. — The Washington The- 
atre. — The Mermaid. — The Project of a New Theatre. — Mr. 
William Pelby. — Act of Incorporation. — Departure of Mr. Finn 
for Europe. — Opening of the War between the Rival Houses. — 
Tom Flynn. — George Andrews. — Miss Rock. — Baron Hacket. 
— The Two Dromios. — Miss Clara Fisher. — Opening of (the 
Tremont Theatre. — The Prize Address. — The First Struggle for 
Supremacy, 247 



CHAPTER XVHI. 

Change of Management at the Tremont Theatre. — J. B. Booth as- 
Acting Manager. — The Company and Salaries. — Debut of John 
Gibbs Gilbert. — Forrest's First Appearance at the Tremont. — 
Der Freischutz. — Hyatt. — Madam Feron. — Tom Comer's First 
Benefit. — W. H. Smith's First Benefit. — Faults of the Theatre. — 
The Opera at the Old Theatre. — Commencement of the Regular 
Season. — Caldwell. — Finn's Unique Cards. — Debut of Mrs. 
Cramer, etc. etc. 262 



CONTENTS. 



CHAPTER XIX. 



Contest between the Two Theatres. — The Old House Closed. — The 
Opera. — The Company. — Booth's Appearance. — His Strange 
Conduct, and Walk to Providence. — Metamora. — The Produc- 
tion of English Dramas. — Richard Russell. — Charles Kean. — 
Master Burke. — Amphitheatre in Flagg Alley. — Ball of the Ca- 
dets at the Old Theatre. — Another of Finn's Cards, etc., etc. 274 



CHAPTER XX. 

The Opening of the Tremont. — Appearance of Mr. Anderson. — The 
Anderson Troubles in New York and Boston. — The Gladia- 
tor. — Mr. Sinclair. — The Opera. — Frederick S. Hill. — Ifus 
Mary Duff. — The Social Condition of Actors — The Hermanns.— 
The Ravel Family. — Opening of the Federal Street. — First 
Performance of the " Hunchback." — Mrs. Banymore. — Benefit 
of John Howard Payne. — The Kembles. — Expiration of Mr. 
Dana's Lease, 289 



CHAPTER XXI. 

Biographical Sketch of Charles H. Eaton. — The Season of 1833-4. — 
Thomas Barry, Esq. — His First Season in Boston. — Tyrone Pow- 
er. — The Visit of the Woods to Boston. — Dana v. Kemble. — 
Recollections and Reminiscences of the Woods, etc., etc. . 30G 



CHAPTER XXH. 

Joseph Wood. — His Sudden Rise and the Cause. — James G. Mae- 
der. — Anecdotes. — Receipts of the First Boston Engagement. — 
The Kembles. — Mr. Barry's Second Season. — Park Benjamin's 
Address. — The Appearance of J. Sheridan Knowles. — Charles 
Mathews, etc 323 

CHAPTER XXHI. 

Fanny Jarman. — F. S. Hill's Prize Poem. — Miss Charlotte Cush- 
man's First Appearance. — Miss Watson. — Her Intrigue with 



CONTENTS. XI 

Paganini. — Mr. Harrington, Professor of Ventriloquism. — The 
Old Theatre. — The Season of 1835-36. — The Veteran Dowton. — 
James Murdock. — First Appearance of Miss Clifton. — Mr. and 
Mrs. Keeley. — Epes Sargent's " Bride of Genoa." — First Appear- 
ance of Ellen Tree. — Lines by John Q. Adams. — Eeceipts. — 
Leman, Charlotte Cushman, etc 339 



CHAPTER XXIV. 

Continuation of Mr. Barry's Management. — Bianca Viscounti. — 
Forrest's Great Engagement. — Velasco. — Vandenhoff. — Mrs. 
Shaw. — Miss Hildreth. — Miss Missouri. — Her Romantic His- 
tory. — Lady of Lyons. — Mr. Barry's Last Season. — Edward 
Shales. — His Dramatic Career. — A Review of Mr. Barry's Man- 
agement, 350 



CHAPTER XXV. 

The Tremont under J. S. Jones. — Season '39-40. — The Company. — 
Mr. Ranger. — Charles Kean. — Death of Mr. Stimpson. — Mrs. 
Fitzwilliam. — Jack Falstaff, by George Andrews. — The Finn and 
Eberle Benefits. — Attempt to reduce the Prices. — Tyrone Power. 
— Fanny Elssler. — The Woods. — John Braham, etc. etc. . 362 



CHAPTER XXVI. 

The Last Years of the Tremont Theatre. — Messrs. Andrews and Pres- 
ton. — The Seguins. — Visit of the Prince de Joinville. — Samuel 
Butler. — Boz. — Season of 1842-3. — George Vandenhoff. — The 
Broughams. — Josh. Silsby. — Closing Scenes at the Tremont. — 
The Last Night. — First Appearance of the Learned Blacksmith. — 
Destruction of the Temple by Fire, etc. etc. . . . 375 



CHAPTER XX VH. 

The re-opening of the Boston Theatre. — 0. C. Wyman, Esq. — The 
Seguins. — The Howard Athenaeum. — Mr. and Mrs. Charles 
Kean. — Edwin Forrest. — Mr. Fleming. — The Museum. — King 
John. — The Viennoise Children. — Titus A. Peep, Esq. — C. R- 



Xll CONTENTS. 

Thome. — The last Season. — Messrs. Wright, Fenno & Co., etc. 
etc 387 

CHAPTER XXVni. 

The National Theatre.— Its Origin. — Mr. Pelby. — The Warren 
Theatre. — The National Theatre. — J. B. Wright. — Thomas A. 
Cooper. — Miss Davenport. — Josh. Silsbee. — Miss Julia Dean. — 
McKean Buchanan. — F. S. Hill. — J. S. Jones. — Hamilton. — 
Wright, Fenno & Co., etc. etc 397 

CHAPTER XXIX. 

Proposals for a New Theatre. — The New National Theatre. — Lay- 
ing of the Corner Stone. — Mr. G. V. Brooke. — The Theatre 
lighted up. — The Opening Night. — Douglass Stewart. — Md'lle 
Palser. — New Fares. — Receipts. — Edwin Forrest's Engagement. 
— The Spanish Dancers. — The Company Reduced. — Leonard's 
Complimentary Benefit. — Presentation of Plate to Brooke, etc. 
etc 400 



CHAPTER XXX. 

The Lion Theatre. — The Opening. — Mr. Barrymore. — The Jewess. 
— The Golden Farmer. — Cooke's Company. — The Davenports 
at the Lion. — Mechanics' Institute. — The Melodeon, etc. etc. 420 



CHAPTER XXXI. 

The Howard Athenaeum. — W. F. Johnson. — The Opening Com- 
pany. — Jas. H. Hackett. — A Sketch of the Baron. — His Youthful 
Days. — The Seguins. — Mrs. Anna Cora Mowatt. — A Sketch of 
Mrs. Mo watt. — Her Career as an Actress. — Edward Davenport, 
•etc. etc 424 



CHAPTER XXXH. 

The Seguins in Norma. — First Production of that Piece. — Mr. and 
Mrs. Charles Kean. — Mr. Stark, Dyott, Mr. Murdoch, Miss Fanny 



CONTENTS. Xlll 

Jones, Miss Mary Ann Lee. — The Seguins, and the " Bohemian 
Girl," etc. etc .435 



CHAPTER XXXHI. 

The Howard Athenaeum. — Opening Night. — Introduction of William 
Warren. — Blangy. — The Viennoise Children. — Marti' s celebrated 
Havana Opera Company. — Tedesco. — Incident in her Life. — 
Signor Perelli, etc. etc. .' 441 



CHAPTER XXXIV. - 

Continuation of the Howard Athenaeum. — Madame Anna Bishop. — 
Elize Biscaccianti. — Truffi. — Fancy Balls. — W. C. Macready. — 
Maurice Power. — Bateman Children. — Charles R. Thome. — Jean 
Margaret Davenport. — H. W. Finn. — Operas. — Baker & English. 
— C. D. Pitt. — Mrs. Mowatt. — Forrest. — Miss Laura Addison. — 
Mrs. Warner. — Madame Thillon. — Lola Montes. — The Season of 
1852-3. — Henry Willard. — Miss Fitzpatrick. — Alboni. — Sontag, 
etc. etc 450 



CHAPTER XXXV. 

The Boston Museum. — The Patrons of the Museum. — The Drunk- 
ard. — Opening Night at the New Museum. — Mrs. Barrett. — The 
Vaudeville Saloon at Boylston Hall. — The Eagle Theatre. — Mr. 
Pelby's coup d'etat. — The Olympic Saloon. — The Boston Adel- 
phi. — The Lyceum Theatre. — The Dramatic Museum. — Beach 
Street Museum. — The Predictions of a Veteran. — Closing Re 
marks, . . 469 



RECORD OF THE BOSTON STAGE. 



CHAPTER I. 



Introductory Kemarks. — First Performance in Boston. — Law 
against Theatricals. — Amateur Theatricals. — Burgoyne's Play. 
— Attempt made to Bepeal the Law against Theatricals. — The 
Exhibition Eoom in Board Alley. — Opening Bill. — " Moral Lee - 
tures." — Trouble at- the Theatre. — Arrest of Harper, and Trial 
in Faneuil Hall. — Death of Governor Hancock. — Charles Stuart 
Powell and his "Evening Brush for Eubbing off the Bust of 
Care." — First American Play. — Origin of the federal Street 
Theatre. — A Curious Pamphlet. 

The introduction of the Drama into the United 
States dates back to the year 1749, and it nourished to 
some extent at the South before it found a " local habi- 
tation and a name " in Massachusetts. The colonial 
authorities of this State were opposed to theatrical 
amusements. They had but a very imperfect idea of 
their bearing, and in their ignorance deemed the thea- 
tre the abode of a species of devil, who, if allowed once 
to exist, would speedily make converts. The first 
allusion to the subject is made by Increase Mather in 
1 



Z RECORD OF THE BOSTON STAGE. 

1G8G. In a preface to his " Testimony against profane 
and superstitious customs," he says : " There is much 
discourse now of beginning Stage Plays in New Eng- 
land ; " but we have no account that any representa- 
tions were actually given, and it is generally conceded 
that the first public dramatic performance in this city 
was Otway's " Orphan, or Unhappy Marriage," which 
was produced at the Coffee House in State street, by 
two young Englishmen, assisted by some volunteer 
comrades from the town. Such an innovation was 
looked upon with horror. The more puritanical at 
once protested against the proceedings, and in the 
month of March, 1750, the General Court of Massa- 
chusetts passed the following act : — 

An Act to Prevent Stage-Plays, and other Theatrical Entertainments. 

For preventing and avoiding the many and great mischiefs -which 
arise from public stage-plays, interludes, and other theatrical enter- 
tainments, which not only occasion great and unnecessary expenses, 
and discourage industry and frugality, but likewise tend generally 
to increase immorality, impiety, and a contempt of religion. 

Section 1. — Be it enacted by the Lieutenant Governor, Council, 
and House of ^Representatives, that from and after the publication of 
this act, no person or persons whosoever shall or may, for his or their 
gain, or for any price or valuable consideration, let or suffer to be used 
and improved, any house, room, or place whatsoever, for acting or 
carrying on any stage-plays, interludes, or other theatrical entertain- 
ments, on pain of forfeiting and paying for each and every day or time 
such house, room, or place shall be let, used, or improved, contrary to 
this act, twenty pounds. 

Section 2. — And be it further enacted, that if at any time or 
times whatsoever, from and after the publication of this act, any 
person or persons shall be present, as an actor or spectator of any 
stage-play, interlude, or theatrical entertainment in any house, room, 
or place where a greater number of persons than twenty shall be 
assembled together, every such person shall forfeit and pay, for every 
time he or they shall be present as aforesaid, five pounds. The for 



RECORD OF THE BOSTON STAGE. 6 

feitures and penalties aforesaid to be one half to his Majesty for the 
use of the Government, the other half to him or them that shall 
inform or sue for the same ; and the aforesaid forfeitures and penal- 
ties may likewise be recovered by presentment Of the grand jury, in 
■which case the whole of the forfeitures shall be to his Majesty for 
the use of this Government. 

A law so stringent had the desired effect. Private 
theatricals were clandestinely given, however, and 
efforts were made to effect its repeal. In 1767, says 
Bradford in his History of Massachusetts, attempts were 
made to permit theatrical exhibitions, and to repeal the 
laws before made against them. The proposal this 
year (some unsuccessful efforts having been previously 
made to repeal the old laws) was equally vain ; a 
majority of the people were opposed to such exhibi- 
tions and entertainments. They considered them as 
calculated rather to corrupt than to improve the heart. 
They said: "They claimed, indeed, to be innocent 
amusements ; but they believed them the means of dis- 
seminating licentious maxims, and tending to immor- 
ality of conduct." ** 

In 1775, the British army in Boston received a 
powerful reinforcement from England under Generals 
Howe, Clinton, and Burgoyne. General John Bur- 
goyne was a dramatic author, and in the year 1774, the 
" Maid of the Oaks," a very indifferent composition 
from his pen was performed at Drury Lane. On his 
arrival in this country, to relieve the tedium of head 
quarters, he produced his second drama, called the 
"Blockade of Boston."// The English army at the 
time was beleaguered in ,the city by the American 
militia; and this piece was written with a view of 
inspiring his men with due contempt for the enemy, and 



4 RECORD OF THE BOSTON STAGE. 

performed in Faneuil Hall. One of the programmes 
read as follows : — 

On Saturday next, will be performed by a society of ladies and 
gentlemen, at Fanenil Hall, the " Tragedy of Zara." The expense 
of the house being paid, the overplus -will be applied to the benefit 
of the widows and children of the soldiers. Pit one dollar; gallery 
quarter of a dollar. Doocb to be opened at five, and begin pre- 
cisely at six o'clock. — PmmmI Bex it Regima. 

Burgoyne's play was probably frequently played, for 
the military are proverbially fond of the stage, and 
many actors, who have become oraments to the profes- 
sion, can date their first appearance at the theatre of 
the barracks. It is related, that during one perform- 
ance of the "Blockade of Boston," probably in March, 
177 G, prior to the evacuation of the city, a very curi- 
ous scene occurred. In one of its merriest seem 
sergeant, without his hat, and in the wildest confusion, 
suddenly rushed on the stage, and shouted in a voice of 
thunder, "the rebels — the rebels — they're attacking 
the Neck ! " which the audience supposing to be a part 
of the piece, applauded very loudly, being struck with 
the soldier's highly natural acting. A few minutes 
afterwards the beating of drums served to break the 
illusion, and the scampering off of the actors, put an 
end to the play. 

The prohibitory law was reenacted in 1784, and 
though theatres were in full success in Xew York and 
Philadelphia, no attempt was made in this city to 
establish one till the 5th of June, 1790, when Hallam 
and Henry presented a petition to the Legislature, 
praying for leave u to open a theatre in Boston under 
proper regulations ; " but the petition was not con- 



EECOSD OF THE BOSTON STAGE. 

sidered. The leading residents of Boston, many of 
whom were above the vulgar prejudices of the day, in 
regard to theatrical representations, and who possessed 
a taste for refined pleasures, in the autumn of 1791, 
brought this subject by a special warrant before the 
town meeting. An attempt was made to postpone any 
consideration of the subject, but a majority were in 
favor of it, and instructions were adopted at an 
adjourned meeting, requested the representatives to 
the general court, to effect a repeal of the law, the 
instructions stating that, ,: A theatre, where the actions 
of great and virtuous men are represented, under every 
possible embellishment which genius and eloquence can 
give, will not only afford a rational and innocent amuse- 
ment, but essentially advance the interests of private 
and political virtue ; will have a tendency to polish the 
manners and habits of society, to disseminate the social 
affections, and to improve and refine the literary taste 
of our rising republic." 

Shortly after the opening of the legislature in Janu- 
ary, 1792, Mr. Tudor, one of the representatives from 
Boston, brought the subject up. " After stating the 
reasons," says Mr. Buckingham in the Xew England 
Magazine, " which had induced him thus early to rise, 
he read the law prohibiting theatrical entertainments, 
and moved that a committee be appointed to consider 
the expediency of bringing in a bill to repeal it. No 
person rose to speak on the motion ; the question was 
called for, and decided in the negative, 47 to 69. On 
the speaker's declaring the vote in the negative, Mr. 
Gardner, of Hallowell, moved for a reconsideration. 
His motion was advocated by Messrs. TTidgery, Beck, 



b RECORD OF THE BOSTON STAGE. 

and Jarvis. The question of reconsideration was finally 
carried, 71 to 33, and the subject was committed to 
Messrs. Gardiner, Greenleaf, Ilichborn, Bowers, Flagg, 
Washburn, and Kingley. A remonstrance against the 
repeal had been presented to the House, by sundry 
inhabitants of Boston, and was referred to the same 
committee. Mr. Gardiner on the 20th, reported ver- 
bally, that it was inexpedient to repeal the law. He 
remarked that the committee consisted of seven mem- 
bers, that two were decidedly against the repeal, that 
two others had voted against it, but acknowledged that 
they were not perfectly acquainted with the whole 
nature and tendency of stage-plays ; and that himself 
and the other two members were in favor of repealing 
it. On the 25th, the report of the committee was 
called up as the order of the day. Mr. Tudor opposed 
the acceptance of it, and Mr. Gardiner followed in an 
elaborate speech of several hours duration in opposi- 
tion to the report. Dr. Jarvis, and others, advocated 
the same opinion. There was no reply — but when 
the question was taken, the law was sustained by ac- 
cepting the report, 99 to 44." 

The friends of the drama, however, were determined 
to encourage theatricals, and probably thought that the 
only way to show their opponents the folly of their 
course was to present them with an opportunity for 
enlightenment. A committee composed of Joseph 
Russell, Esq., General Henry Jackson, Joseph Barrell, 
Dr. Jarvis, and Joseph Russell, Jr., built at their own 
expense in Board Alley, now Hawley street, (originally 
a path through a pasture made by the worshippers at 
Trinity Church, who resided in King street, — and 



RECORD OF THE BOSTON STAGE. 7 

called Board Alley from the fact that it was subse- 
quently boarded over,) a theatre, in every thing but the 
name, and call it the "New Exhibition Room." It 
was capable of holding five hundred persons. On the 
10th of August, 1792, it was opened under the manage- 
ment of Mr. J. Harper. The following is the opening 
bill: — 

NEW EXHIBITION ROOM. 

BOARD ALLEY. 

Feats of Activity. 

This Evening, the 10th of August, will be exhibited Dancing on 

the Tight Rope by Monsieurs Placide and Martin. Mons. Placide 

will dance a Hornpipe on a Tight Rope, play the Violin in various 

attitudes, and jump over a cane backwards and forwards. 

INTRODUCTORY ADDRESS 

BY MR. HARPER. 

SINGING 

BY MR. WOOLS. 

Various feats of tumbling, by Mons. Placide and Martine, who 
will make somersetts backwards and forwards x over a Table, 
Chair, &c. 

Mons. Martin will exhibit several Feats on the Slack Rope. 

In the course of the Evening's Entertainments, will be delivered 
THE GALLERY OF PORTRAITS, 

OR 

THE WORLD AS IT GOES, 

BY MR. HARPER. 

The whole to conclude with a Dancing Ballet, called 

THE BIRD CATCHER. 
With the Minuet de la Cour, and the Gavot, 

BY MOXS. AND MADAME PLACIDE. 

[GP" Doors to be opened at seven o'clock, and the exhibition to 
begin precisely at half after seven. 

K#=* Tickets at 6s. First Seats, 4-6 Second Seats, and 3s. Third 
Seats, may be had at the Post Office, at J. Leverell's, Marlborough 
street, and at B. Russell's Printing Office, State street, of whom the 
first seats may be taken from the hours of 10 till 1, A. M., and from 
3 till 5, P. M., on Exhibition Days. 

N. B. — Ladies and Gentlemen are requested to order their servants 



8 RECORD OF TIIE EOSTON STAGE. 

to set down and take up with their horses' heads towards Summer 
street. 

The performances were similar to the above for some 
time, and the writers in the papers stated that the 
promised influence upon the morals of the community- 
was not so great as anticipated, and expressed the 
opinion that the tight rope applied to the legs is not so 
effectual, to refine the morals of the people, as the old 
fashioned way of applying it to the neck, practised in 
other countries. 

The tight rope dancing, however, was soon super- 
seded by plays, given under the title of Moral Lectures. 
Garrick's farce of " Lethe " was produced as a satirical 
lecture called Lethe, or JEsop in the Shades, by Mr. 
Watts, Mr. and Mrs. Solomon. Otway's " Venice Pre- 
served " was announced as " A Moral lecture in five 
parts, in which the dreadful effects of conspiracy will 
be exemplified." The " West Indian," " Poor Soldier," 
" Rosina," " Love in a Village," " Romeo and Juliet," 
" Hamlet," were also performed, as moral lectures. The 
bills, announcing these moral lectures, were written with 
considerable tact. We have a copy of a bill of " Othel- 
lo" produced in this disguise at Newport, R. I., similar 
undoubtedly to those at the Exhibition Room, which 
is as follows : — 

KIXGS ARMS TAVERN — XEWTORT — RIIODE ISLAND. 

On Monday, June 10th, at the Public Eoom of the above Inn, will be 

delivered a series of 

MOKAL DIALOGUES, 

IX FIVE PARTS, 

Depicting the evil effects of jealousy, and other bad passions, and 
proving that happiness can only spring from the pursuit of virtue. 
Mr. Douglas — will represent a noble and magnanimous Moor, 



RECORD OF THE BOSTON STAGE. 9 

called Othello, who loves a young lady named Desdemona, and after 
he has married her, harbors (as in too many cases) the dreadful pas 
sion of jealousy. 

Of jealousy, our being's bane, 

Mark the small cause, and the most dreadful pain. 

Mr. Alhjn — will depict the character of a specious villain, in the 
regiment of Othello, who is so base as to hate his commander on 
mere suspicion, and to impose on his best friend. Of such charac- 
ters, it is to be feared, there are thousands in the world, and the 
one in question may present to us a salutary warning. 

The man that wrongs his master and his friend, 
What can he come to but a shameful end ? 

Mr. Eallam — will delineate a young and thoughtful officer, who 
is traduced by Mr. Allyn, and getting drunk, loses his situation and his 
general's esteem. All young men, whatsoever, take example from 
Cassio. 

The ill effects of drinking -would you see 9 
Be warn ; d, and fly from evil company. 

Mr. Morris — will represent an old gentleman, the father of 
Desdemona, who is not cruel or covetous, but is foolish enough to 
dislike the noble Moor, his son-in-law, because his face is not white, 
forgetting that we all spring from one root. Such prejudices are 
very numerous, and very wrong. 

Fathers beware what sense and love ye lack, 
; Tis crime, not color, makes the being black. 

Mr. Qudch — will depict a fool, who wishes to become a knave, 
and trusting to one, gets killed by him. Such is the friendship of 
rogues — take heed. 

"When fools would knaves become, how often youll 
Perceive the knave not wiser than the fool. 

Mrs. Morris — will represent a young and virtuous wife, who 
being wrongfully suspected, gets smothered (in an adjoining room) 
by her husband. 

Reader, attend ; and e r er thou goest hence 
Let fall a tear to helpless innocence. 

Mrs, Douglas — will be her faithful attendant, who will hold out a 



10 RECORD OF TIIE BOSTON STAGE. 

good example to all servants, male and female, and to all people in 
subjection. 

Obedience and gratitude 

Are things as rare as they are good. 

Various other dialogues, too numerous to mention here, will be 
delivered at night, all adapted to the improvement of the mind and 
manners. The whole will be repeated on Wednesday and Saturday. 
Tickets six shilling each, to be had within. Commencement at 
seven, conclusion at hall-past ten, in order that every spectator may 
lie at a sober hour, and reflect upon what he has seen before he 
retires to rest. 

God save the king, 

And long may he sway 
Ea<t, north, and south, 
And fair America. 

Many have undoubtedly witnessed " Othello," without 
being aware of the many moral lessons it inculcates. 
At the Board Alley Theatre on the 5th of October was 
presented, " A Moral Lecture announced in five parts," 
wherein, (says the bill,) the pernicious tendency of 
libertinism will be exemplified in the " Tragical History 
of George Barnwell, or the London Merchant." 

Learn to be wise, by others harm, 
And ye shall do full will. — Lillo. 

Delivered by Messrs. Harper, Morris, Watt, Murrey, 
Solomons, Redfield, Miss Smith, Mrs. Solomon, and 
Mrs. Gray. 

The company consisted of Mons. Placide, Mr. "Woods, 
Mr. and Mrs. Morris, Mr. and Mrs. Solomon, Messrs. 
Robert, Adams, Watts, Jones, Redfield, Tucker, Kenny, 
Murray, Powell, Mrs. Gray, Miss Smith, Miss Chap- 
man, and the performances had some claims to the 
character of intellectual entertainments. The oppo- 
nents of theatricals were struck with terror, and many 
gave vent to their indignation at this open and bold 



RECORD OP THE BOSTON STAGE 11 

example of disrespect for the laws, through the columns 
of the newspapers. A writer in the Chronicle, Nov. 
22d, indignant not only that foreigners, — most of the 
actors being English, — should palm themselves on a 
republican people, but also with " tales of love between 
my Lord and Lady, or Sir Charles and his Maid " in 
this land of liberty and equality, — thus versifies: — * 

" Bostonians 
Shall a lawless Bandittis, faces, 
The refuge of a degenerate people 
Pass unnoticed, and be suffered 
To triumph over the opinions 
And the long, well established maxims 
Of our venerable ancestors ? 
Shall vile minions, from a foreign land 
Affect to treat with open, marked contempt 
The mild influence of our government 
In the prevention of those evils 
Which experience and well known prudence 
Long since stampt by the slow finger of time 
"With wisdom and success ? 
What insult is not to be awaited 
From men, who, regardless of their honor 
Trample upon our laws — our sacred rights, — 
When the history of whose fives would put 
Modesty and every kindred virtue 
To the blush!" 

Soon after the opening of the theatre, the Supreme 
Judicial Court was in session in Boston, and the matter 
was laid before the Grand Jury, but they did not return a 
bill of presentment ; and as informers were less inclined 
to do the small work of pseudo reformers than they are 
now-a-days, the manager enjoyed a feeling of security, 
and was congratulating himself upon his excellent busi- 
ness ; for the little box was crowded nightly, when an 



12 RECORD OF THE BOSTON* STAGE. 

event occurred which temporarily checked the fortunes 
of the drama. 

Just after the first act of the play had been per- 
formed, on the 5th of December, 1792, the sheriff, in 
pursuance of a warrant from their Honors, Justice 
Greenleaf and Barrett, to apprehend sundry persons, 
said to be infractors of the law against theatrical 
entertainments, executed his duty so far as Mr. Harper 
was concerned, being obliged to return non inventus on 
others included in the warrant. The audience finding 
themselves baulked, were uproarious. Governor Han- 
cock was always a bitter opponent of the theatre, and, 
supposing that the arrest was made at his instigation, 
the spectators leaped on to the stage, tore down the 
arms of the State which decorated a tablet, and trod 
under foot a portrait of Hancock, which hung in front 
of the stage box. 

Judge Tudor exhorted the audience to be orderly, 
and several gentlemen immediately came forward and 
became bound for the appearance of Harper ; and at 
the request of the manager, the audience quietly with- 
drew, receiving their entrance money. 

"We have heard another version of this affair, which 
implicates one Mr. Jerry Allen, who was the sheriff at 
the time. It is said, that after Allen had done his duty, 
and taken several gentlemen as surety for Harper's ap- 
pearance, that he was induced, by a few of his private 
friends with whom he was on good terms, to take a seat 
and witness the rest of the performances, which he did, 
greatly to the amusement of those present. Sheriff 
Allen was a fine specimen of a bachelor, who loved his 
fish dinners on Saturdays, and rarely partook of them, 



EECOED OF THE BOSTON STAGE. 13 

unless surrounded at his residence by a dozen or, more 
choice spirits, -whose judgment upon wines and dainties, 
was not to be disputed. YTe are inclined to believe, 
however, from information in our possession, that the 
play did not proceed, and that sheriff Allen executed 
his duty with becoming dignity, and retired from the 
theatre with due respect for his office. 

The examination was held in " Faneuil Hall," which 
was thought most proper to proceed to business in, as 
his Honor Justice Greenleaf 's official chamber would 
not admit the numerous spectators who waited with 
anxious expectation the result of this important inquiry. 
Attorney Sullivan read a special order from Governor 
Hancock. 0. G. Otis, counsel for Harper, objected to 
the legality of the warrant, as contrary to the four- 
teenth article of the Declaration of Rights, which 
requires that no warrant shall be issued except upon 
complaints made on oath. Mr. Tudor, also, of his 
council, supported Mr. Otis, which point was combated 
by Mr. Sullivan. The justices acceded, and the defend- 
ant was discharged amid loud applause. A few days 
after this transaction, the legislature, owing to the 
prevalence of the small pox in Boston, met at Concord, 
when Governor Hancock made allusion to "an open 
insult upon the laws and government of the Common- 
wealth," and recommended a more rigid enforcement of 
them for the future. 

It does not appear that any further prosecution was 
made, although the law was to remain in force till 1797. 
Governor Hancock was at the time in very feeble 
health, and died the following October. The law 
became a dead letter, and was subsequently repealed. 



14 RECORD OF THE BOSTON STAGE. 

Before the completion of the Exhibition Room, 
Charles Stuart Powell arrived in Boston, and gave 
public entertainments. The following is his advertise- 
ment : — 

At Concert Hall, on Monday, August 13th, ('92,) Wednesday, 
15th, and Friday, 17th, will be presented, for the first time here, by 
Mr. Powell, from the Theatre Royal, Covent Garden, a favorite 
Pasticcio, called " The Evening Bbush, for rubbing off the Rust of 
Care." 

The Chief Subjects of Laughter : Modern Spouters, Stage Candi- 
dates, Tragedy Tailors, Wooden Actors, Butchers in Heroics, Buf- 
foons in Blank Verse, Bagglers, and Blunderers, &c. 

Laughter, with reason, 

Is surely no treason, 
Proportion of grace can hare no cause to blush ; 

And the sons of true merit 

No grudge can inherit, 
To see rank impostors exposed hy the Brush. 

With a contrasted set of original Songs; particularly the Tragi- 
comedy of Human Life; the Roman Veteran, or Date Obolum 
Bellisario ; the Golden Days of Good Queen Bess, &c. The whole 
to conclude with a Whimsical Transformation, or Humorous Dwarf 
Dance. Tickets half a dollar, &c. 

Mr. Powell appeared at the Exhibition Room, and 
gave his " Brush," and his name will frequently appear 
in subsequent chapters. At the Board Alley Theatre, 
the " Contrast," a comedy in five acts, the first Ameri- 
can play ever produced by a regular company of co- 
medians, was performed. It. was written by Royal 1 
Tyler, Esq., of Vermont, and originally produced on 
the 16th of April, 1786, in New York. It was quite 
a popular piece, and, in 1790, was published by sub- 
scription. The Board Alley Theatre was in full opera- 
tion till the middle of June, 1793. On the 14th, Mr. 
Powell gave his " Brush," and in the advertisement 



RECORD OP THE BOSTON STAGE. 15 

regrets he cannot present a farce, as the company have 
left town. He concludes by saying : — 

" The public may rest assured, this will be positively and defi- 
nitely the last night of performing this season, as the house will be 
taken down on Saturday." 

The Board Alley Theatre proved so successful, and 
met with such encouragement, that it was determined 
to erect another, on a larger and better scale. An 
association was formed, on the joint stock principle, 
comprising the liberal and wealthy citizens of Boston, 
and Messrs. Perez Morton, Joseph Russell, Samuel 
Brown, Charles Bulfinch, and Henry Jackson, were the 
trustees, who took measures for building the Boston 
Theatre, which was in process of erection during the 
year 1793. 

After the destruction of the Board Alley Theatre^ 
entertainments were given at Mr. Bryant's Hall. One 
of these must have been of a unique character, judging 
from the announcement, which promises that — 

" Master Henry, from London, will walk on his belly in the shape 
of a camel. Master Manly will balance his whole body on the edge 
of a candle-stick, without the assistance of hand or foot. He will 
pick up two pins with his eyes, and a dollar at the same time with 
his mouth; rolls like a whale in the sea." 

Entertainments of a more refined character, were 
soon provided for the citizens at the Boston Theatre. In 
the year 1792, a pamphlet was published in this city 
by Young & Etheridge, Market Square, with the follow- 
ing title : " Effects of the Stage on the Manners of the 
People ; and the Propriety of Encouraging and Estab- 
lishing a Virtuous Theatre : By a Bostonian." The 
copy-right is taken out by William Haliburton, of the? 



16 RECORD OF THE BOSTON STAGE. 

District of Massachusetts, and the contents are worthy 
of a passing notice, if from their singularity only. 
The author states, that "as the theatre is once 
more become the theme of general conversation, and 
the minds of many appear to be filled and agitated 
with the subject, it will not be improper to throw 
together a few observations on the Stage." The author 
then states his ideas, and in the course of his remarks, 
says : — 

" If only a theatre were wanting, a semicircle would be the most 
commodious form ; but as other, and greater advantages are intended, 
it would come cheaper, appear more beautiful, be more commodious, 
useful and durable in the form of a fourteen-sided figure. 

" The building should be surrounded with a piazza, whose pillars, 
at twelve feet distance, should help support a grand dome or roof, 
and add dignity to the whole figure ; so contrived as to admit the 
light and let out the heated air; the whole body of the building to 
be furnished with windows, posited so as to be seen in the spaces 
between the surrounding pillars, also a small seat or bench, at- 
tached to the building, and carried from door to door, for the con- 
venience of sitting under the piazza; a narrow coach road to 
surround the whole, lamps on every corner pillar, and, if it could be 
obtained, a garden of twenty, twenty-five, or thirty feet width, laid 
round the coach road, from gate to gate, stocked with beautiful 
flowers and aromatic herbs ; which will serve to regale several senses 
at once. Thus the piazza would become one of the most healthy and 
delightful walks in the world, and the gentlemen and ladies would 
be there sheltered from rain. 

" Full half the building being reserved for the theatre, a thirty 
feet passage gives ascent at each end to large stair-cases, com- 
municating with the several apartments and galleries, the said pas- 
sage ornamented by three noble arches with pendant lamps. The 
first floor on one side, will accommodate the whole legislative assem- 
bly, in separate chambers, (with convenient offices and committee 
rooms adjoining,) where they may deliberate free from the noise of 
carriages, &c. 

" Some will object to the legislature sitting in such a building ! It 
is asked, would they object to sitting and deliberating in a temple or 
place of worship ? No, such places are intended to make men good ! 



EECOKD OF THE BOSTON STAGE. 17 

This also is intended to suppress vice, and advance virtue; and 
serves likewise to make men better, and more virtuous. 

" Moreover this costs nothing ; will be equally or more commodious - 
than any other building they can erect or purchase ; and the assem- 
bly will be actually at the distance of sixty feet from the theatre, 
with no less than three intervening walls of brick. Exhibitions are 
only in the night time, the assembly sits but seldom and rarely in 
the night; but any inconvenience on that score may be obviated, 16j 
sitting down the company at a distance, or even preventing exhibi- 
tions on such nights. 

" The second floor may be an assembly room, handsomely decor- 
ated for the gentlemen and ladies, and serve also the purpose of a 
noble large dining-room, when celebrating the great events of the 
nation, accommodated by with-drawing-rooms, as on the floor below. 
The third story will serve for a military hall, and other purposes. 
That part of the building devoted to the theatre, will save to the 
town the great expense of building a hall for town meetings, being 
very capacious, lightsome and excellently fitted for such use ; the 
galleries will be so constructed, that the feeblest voice below, will be 
veiy audible, and distinctly heard in those galleries. 

" It is designed to have a lower floor that will contain two thousand 
spectators, and three galleries to contain fifteen hundred, fifteen hun- 
dred, and twelve hundred spectators in five distinctions of seats inclu- 
sive of the pit ; the prices'thus : one shilling, eighteen pence, two shill- 
ings, two and sixpence, and three shillings — or, may be varied as pru- 
dence shall suggest; total price of the several seats, including the pit, 
is ten shillings, which, divided by five, gives two shillings as the aver- 
age price of tickets ; multiplied by six thousand, give two thousand 
dollars for one night of a full theatre ; out of which deduct the propor- 
tionate share of the annual sum due for principal on the building and 
the interest, the proportion of salaries, payments to authors, and other 
incidental expenses, and there will remain a large sum, to be applied 
to promoting manufactures, employing the able, and maintaining the 
helpless poor. If the legislature of Massachusetts established such a 
theatre, and take proper measures to procure persons for actors who are 
really excellent in their way, and make the most wholesome regula- 
tions for the government thereof, its effects on the manners of the 
people, must be truly astonishing. History will undoubtedly mark an 
era so favorable to the intellectual powers of man, in this western 
world. Not only the governors of the State, but all the members of 
that patriotic assembly, will be recorded as promoters of a design so 
grand and so beneficial. The first actors and managers, will be also 
2 



18 RECORD OF THE BOSTON STAGE. 

eternized; and the history of the stage will ever after have a con- 
spicuous place in the History of America." 

lie also proposed to give free admission as a reward 
of merit to poor citizens who conducted themselves 
well. The ideas of the author were in advance of the 
times, however, and his plans were not listened to. 



CHAPTER II. 

Opening of the Boston Theatre. — Description of the Building. — 
First Bill.— Snelling Powell. — Mrs. Powell. — The Prize Pro- 
logue. — The Early Critics of Boston. — Col. J. S. Tyler's Manage- 
ment. — The New York Company. — Hodgkinson and Hallam. — 
First Performance of Macbeth. — Death of Joseph Russell. — 
Anecdotes of Cleveland, and "King Kenny." — Biographical 
Sketch of John Hodgkinson. — The Introduction of various Cus- 
toms. — Respect of the Managers for Religion, &c, &c. 

The opening of the Boston Theatre, in Federal 
street, marks an era in the history of the drama of this 
city. The change in public opinion, which at that time 
took place, was the dawn of that spirit of liberality 
which has since infused itself into our local institutions. 
It gave an impetus to theatrical representations by 
allowing temples to be dedicated to Thalia, and Melope- 
mene, and fostered a taste for this innocent and instruc- 
tive amusement, which has been cultivated, wherever 
civilization has shed its illumined rays of wisdom, by 
men of purity, intellect, and genius. The establishment 



RECORD OF THE BOSTON STAGE. 19 

of a theatre on a firm basis, — the most respectable 
citizens being among its stockholders, — was regarded 
'• as the triumph of taste and liberal feeling over bigo- 
try and prejudice ; " and the record of Boston theat- 
ricals commences with the opening of its doors on the 
3d of February, 1794, under the management of 
Messrs. Charles Stuart Powell, (who visited England, in 
1793, to procure the company,) and Baker, assisted by 
the trustees, who retained a controlling power over 
the affairs. The theatre in those days was considered a 
fine specimen of architecture and creditable to the archi- 
tect, Mr. Bulfinch. It is alluded to as a lofty and 
spacious edifice, substantially built of brick, with stone 
facias, imposts, &c It was one hundred and forty feet 
long, sixty-one feet wide, and forty feet high. The 
entrances to the different parts of the house were 
distinct, and at the time the opponents of the theatre 
made strong use of this fact, alleging that by affording 
a special door to that portion of the house, usually the 
resort of the vile of both sexes, a premium on vice 
was offered. In the front there was a projecting arcade, 
which enabled carnages to land company under cover. 
The interior of the building was tastefully decorated. 
The stage opening was thirty-one feet wide, ornamented 
on each side by two columns, and between them a 
stage door and projecting iron balcony. Over the 
columns a cornice and a balustrade were carried across 
the opening; above was painted a flow of crimson 
drapery, and the arms of the Union and of the State of 
Massachusetts, blended with emblems, tragic and comic. 
A ribbon depending from the arms, bore the motto, " All 
the world's a stase." At the end of the building a 



20 RECORD OP THE BOSTON STAGE. 

noble and elegant dancing room was constructed. This 
was fifty-eight feet long, thirty-six wide, and twenty- 
six high, ricldy ornamented with Corinthian columns 
and pilasters. There were also spacious card and tea 
rooms, and kitchens with proper conveniences. 

The performances on the opening night were as 
follows : — 

NEW THEATRE. 

Mr. Powell takes this opportunity of acquainting the Ladies and 
Gentlemen of Boston, and its vicinity, that the new and elegant 
Theatre will open 

TITIS EVENING 

With the truly Republican Tragedy of 
GUSTAVUS VASA; 

THE DELIVERER OF HIS COUNTRY. 

All the characters (being the first time they were ever performed 
by the present company) will be personated by Messrs. Baker, Jones, 
Collins, Nelson, Bartlett, Powell, S. Powell, and Kenny; Miss Ham- 
son, Mrs. Jones, Mrs. Baker, and the Child by Miss Cordelia Powell, 
being her first appearance on any stage. 

To which will be added an Entertainment, called 
MODERN ANTIQUES; 

OR, THE MERRY MOURNERS. 

Mr. and Mrs. Cockletop, by Mr. Jones and Miss Baker. The other 
characters, by Messrs. S. Powell, Collins, Nelson, Baker, &c, Mrs. 
Jones, Mrs. Baker, and Mrs. Collins. 

As we shall ever wish to give what we conceive to be the most 
harmonic to the soul, and congenial to the general sentiments of our 
brethren of the land we live in, the following distribution of the 
music will precede the drawing up of the curtain : 

YANKEE DOODLE. 

Grand Battle Overture in Henry IV. 
General Washington's March. 
The prefatory Address, by Mr. C. Powell, between the Acts. 
A Grand Symphony by Signor Charles Stametz ; Grand Overture 
by Signor Vanhall; Grand Symphony by Signor Haydn; do. by 
Charles Ditters. 
D^= Box one dollar; Pit 3s. 9; Gallery one quarter of a dollar. 
The doors will be opened at five, and the curtain drawn up pre- 
cisely at sis o'clock. 



RECORD OF THE BOSTON STAGE. 21 

Among the actors above enumerated the name of 
Snelling Powell occurs. He was born in Camarthen, 
"Wales, and commenced his theatrical career at an 
early age. His father was a manager of a theatre, 
and had a respectable company , and circuit. Mr. 
Powell, at an early period of his life, devoted his atten- 
tion to printing, and when he came to America, in 
1793, with his brother, Charles Stuart Powell, he 
brought with him considerable printing apparatus, 
which he used in printing the programmes of the 
theatre. His name will occur frequently in this record. 
In 1794, Mr. Snelling Powell married Miss Elizabeth 
Harrison, who also came out under the auspices of 
Mr. C. S. Powell. This lady was born in Maraison, 
the county of Cornwall, in the year 1774, and was first 
cousin to Rev. Henry Martin, an eminent divine. Miss 
Harrison, previous to her visit to this country, appeared 
before George the Third, by command; and she had 
also frequent opportunities of performing the second 
characters to the queen of tragedy, Mrs. Siddons, 
who was so much pleased with her acting, that she 
obtained permission for Miss Harrison to accompany 
her through a circuit of the provincial theatres. She 
was the original in this city, as will be seen, of many 
characters which still retain a position among the 
favorite theatrical representations of the day; and her 
impersonations of Shakspeare's heroines entitle her to 
a rank among the highest in her profession. Mrs. 
Powell died in December, 1843. Charles Stuart 
Powell, (noticed in our last chapter in connection with 
the Brush,) formerly of the Theatre Royal, Covent 



22 RECORD OF THE BOSTON STAGE. 

Garden, was the first manager of the Federal Street 
Theatre. 

A gold medal was offered for the best written pro- 
logue, and the prize was unanimously adjudged to Tho- 
mas Paine, then only eighteen years of age, who after- 
wards took the name of his father, Robert Treat Paine, 
by leave of the legislature. This production was deliv- 
ered by C. S. Powell in the character of Apollo, and 
was highly creditable to the poet's genius. 

The theatre was crowded on the opening night. It 
would not have been possible to have selected from the 
whole catalogue of English plays one which would have 
been more appropriate to the occasion than " Gustavus 
Vasa," a tragedy by H. Brooke, written in 1739, but 
which, on account of its political sentiments, (admirably 
adapted, however, to this locality, corresponding as it 
did with the opinions of a great majority of the citizens,) 
was prohibited to be played, even after it had been re- 
hearsed at Drury, Lane. The author, however, was 
not injured by the prohibition ; for on publishing the 
book by subscription, he cleared a thousand pounds. 

The theatre was well patronized, entertainments be- 
ing given three evenings each week ; and in order to con- 
ciliate the more rigid inhabitants, it was announced that 
on no account would the evenings fall upon those devo- 
ted to religious services, which were held in Rev. Dr. 
Belknap's church in the same street. The custom was 
then introduced, which prevailed for many years, of 
allowing the audience to call upon the orchestra for 
such pieces of music as suited the popular taste ; and 
though popularity was in a measure obtained by allow- 
ing the members of both political parties to hear their 



RECORD OF THE BOSTON STAGE. 23 

favorite airs, oftentimes indicative of party spirit, which 
then ran high, it was the source of much confusion. 
In Philadelphia, about the same time, a riot occurred, 
owing to the orchestra refusing to respond to the call ; 
seats were broken, and the play terminated. No diffi- 
culty of this kind, however, occurred, though Powell 
and Baker quarrelled; and the latter, with his wife, 
withdrew from the company after a few months, and 
gave Dramatic Olios at Concert Hall. The season 
closed on the fourth of July, 1794. 

The second season commenced Dec. 15, 1794, Mr. 
C. S. Powell as manager. Mrs. Pownajl (who died in 
1796) was engaged. She was a singer of considerable 
ability, and gained great applause in opera divertise- 
ments. On the opening night the bills announced that 
a comedy written by Shakspeare, entitled "As You Like 
It," and " Rosina," would be performed. 

The company consisted of C. S. Powell and wife, 
Snelling Powell and wife, Jones and wife, Collins and 
wife, Hughes and wife, Bartlett, Taylor, Kenny, Heelyer, 
Hip worth, Villiers, Mrs. Heelyer (afterwards Mrs. 
Graupner), Miss Harrison, &c. &c. Mr. Taylor was 
a new face, and gained great credit as Octavian in the 
" Mountaineers." He returned to England subsequently, 
and died. The company was not a strong one, if we 
can judge by the criticisms which appeared in the jour- 
nals. One critic, after slaughtering the male members,, 
states that it is with pain he is called upon to censure 
the fairer part "of our species," and alluding to an 
actress, he mildly informs the reader that she has neith- 
er face, nor voice, nor form, nor action, in short, no one 
talent for the profession she has usurped. 



24 RECORD OF THE BOSTON STAGE. 

" When to enforce some very tender part, 
The right hand Bleeps by instinct on the heart; 
Her soul, of every other thought bereft, 
Seems anxious only where to place the left." 

The season, which terminated June 19th, 1795, result- 
ed in Mr. C. S. Powell becoming a bankrupt, though 
he was guaranteed for the services of himself, wife, 
and daughter, from the proprietors, twenty pounds per 
week. During the summer interval, Mrs. Pownall 
gave an occasional concert in the theatre ; and the As- 
sembly Hall was used for dancing parties. 

Col. J. S. Tyler, a 'gentleman interested in theatri- 
cals, was solicited at this time to assume the responsi- 
bility of the management by the trustees ; and, more 
from a desire to advance the cause of the drama than 
from any pecuniary motives, he consented to take charge 
of the business, and at once made arrangements with 
Messrs. Hallam and' Hodgkinson to bring on the New 
York company to Boston ; and having engaged a por- 
tion of the former company, the whole formed a very 
effective and numerous corps, comprising, as the regu- 
lar Boston company, Snelling Powell and wife, Harper 
and wife, Chambers and wife, Hughes and wife, Baker 
and wife and daughter, Taylor, Villiers, Kenny, and 
Mrs. Pick. The company from New York consisted 
^of Hodgkinson and wife, Hallam and wife, Tyler and 
wife, Hamilton and wife, Johnson and wife, Cleveland 
; and wife, King and wife, Martin Premore, &c, &c. 

A brilliant and profitable season was anticipated ; and 
certainly so strong a band merited success. The pro- 
prietors were sanguine ; but, seeing the impossibility of 
.accomplishing much at the old prices, they were raised, 



RECORD OF THE BOSTON STAGE. 25 

as will be seen by the following advertisement inserted 
in the newspapers of the day : 

TO THE PUBLIC. 

From a consideration of the enormous expense which the present 
Manager of the Boston Theatre is subject to, by having engaged a 
company of thirty-eight persons for the ensuing season, several of 
whom are confessedly in the first line of excellence, together with a 
more numerous orchestra, and preparations of several splendid pan- 
tomimes. 

The proprietors have unanimously, upon mature deliberation, been 
compelled to adopt the following prices, the same as at the principal 
theatres on the continent, viz : 

Boxes, one dollar. 

Pit and Slips, three quarters of a dollar. 

Gallery, half a dollar, 
assuring the public, that at the reduced prices adopted heretofore, a 
full audience every night of performance, would not be more than 
barely adequate to the expense. 

From so numerous a company, every species of theatric exhibi- 
tion may be expected, and is assured to the public by the manager. 
Boston may now rival, nay, outvie any other theatre on the conti- 
nent. To a liberal and. discerning public this statement is given, and 
the proprietors presume, on their cheerful acquiescence, to a mea- 
sure absolutely necessary to the support of their favorite amusement. 

By order of the Trustees, 

Jos. Eussell, Secretary. 

Boston, Oct. 22, 1795. 

The third season accordingly commenced on the 2d 
of November, 1795, under Colonel Tyler's management, 
the title of colonel having been acquired as comman- 
der of the Cadets. Mr. John Hodgkinson assisted him 
as stage manager. The public was partial to Mr. 
Tyler on account of his being an American, and it was 
anticipated that he would adopt, as he did, a liberal 
system, which it was thought would stimulate the dor- 
mant genius of our countrymen, and reduce the depen- 
dence then placed upon foreign talent. The success 



2G RECORD OF TIIE BOSTON STAGE. 

of the theatre was great ; and we find in the "Federal 
Orrery" a poetical address which was "intended to 
have been spoken by Col. J. S. Tyler at the opening 
of the theatre." It is quite lengthy, and though not 
delivered, is sufficiently interesting to warrant an ex- 
tract : — 

" Let mirth within these walls your souls employ, 
Like brothers worship at this shrine of joy; 
Let Feds and Antis to our temples come, 
And all unite firm Federalists in Fun ; 
Let austere politics one hour flee, 
And join in free Democracy of ylee ! " 

This was conciliating, to say the least, especially as 
men then carried their political feelings into the very 
inner circle of social life, oftentimes severing social ties 
on this account, and looking upon a political opponent 
as we should be apt to regard an escaped thief or marau- 
der. Another passage is at once personal and bio- 
graphical. The manager is supposed to raise his eyes 
to the gallery, and address the following to the upper 
row of censors : — 

" Luff up my hearties ! cheer each drooping box, 
The good ship — Theatre — is on the stocks, 
Her ways are greased — her after blocks away, 
Then jump her, jump her, if you'd give her way. 
In me, her captain, know me for your friend, 
Your townsman, — town born, town bred — at north end ; 
Let British lords their haughty birth declare, 
I boast of being born in — Old North Square. 
Then heave ahead, doff hats, and now or never 
Come give us three huzzas — North e>td forever." 

The New York company was comprised of Mr. 
Hodgkinson, an actor of great repute, and Mr. Hallam 
and others who were excellent in their way ; the Boston 



RECORD OF THE BOSTON STAGE. 27 

company included Mr. and Mrs. S. Powell and other 
favorites. There was considerable trouble between the 
members of the House of York and the House of Bos- 
ton, and at times serious results were apprehended ; 
but Mr. Tyler with tact was enabled to conciliate the 
parties, and outwardly at least there was appearance of 
harmony. The " Provoked Husband," " School for Scan- 
dal," and " Richard IH." were brought out ; and Dec. 
21, 1795, "Macbeth" was performed for the first time 
in this city. Macbeth, Mr. Hodgkinson ; Macduff, Mr. 
Hallam ; Lady Macbeth, Mrs. S. Powell. The critics of 
the day notice the performances very favorably, and 
demand that Shakspeare's acting plays should be pro- 
duced, in order to cultivate a taste for the legitimate 
drama. In November, this year, Mr. Joseph Russell, 
the active treasurer of the stockholders of this theatre, 
died. In him the profession lost a warm admirer, who 
had done good service in promoting a taste for the 
drama. 

Mr. and Mrs. Cleveland were members of the com- 
pany this season. Mr. Cleveland was a good actor, 
and very prepossessing in his personal appearance, gift- 
ed also with an agreeable address. He was the apol- 
ogist of the theatre. If an actor was sick, no one 
could state to the public the substitution of another 
with so much grace; if a play was not ready on the 
night announced, no one could lay the case before the 
audience with such a certainty of having the piece pro- 
posed in its place so warmly applauded — in fact, he 
had a peculiar knack for making apologies, and rarely 
did he retire from the execution of this, to him agreea- 
ble task, without receiving a round of applause. On 



28 RECORD OF THE BOSTON STAGE. 

one evening lie was performing " Romeo." The play had 
reached the iit'th act, and the noble Montague lay dead, 
the fair Juliet weeping over him. At this point the 
Old South bell began to toll out alarming peals, and 
with such vehemence did the bell-puller do his work, 
that the audience began to fear that even the theatre 
was in ilames, and some movement occurred in the 
dress circle. Poor Cleveland, dead as Romeo, but still 
alive as the Apologist, could not resist the ruling passion. 
He immediately, in the midst of Juliet's lamentations, 
set up and said : "Ladies and Gentlemen, I beg you not 
to be alarmed. It is only the Old South bell, I assure 
you" and before the fair Capulet had time to recover 
from her astonishment, Romeo again lay dead before* 
her. 

Kenny was also a member this season. He was 
more familiarly known as King Kenny, from the fact, 
that he always did the kingly parts. He was an eccen- 
tric fellow, and sometimes guilty of altering Shakspeare, 
when he was not perfect in his part. Snelling Powell, 
who was not only a good actor, but an excellent critic, 
stood at the wing, and heard Kenny deliver some 
speeches which it would have defied any one to find in 
the bard's works. As he came off Powell said : " My 
heavens, Kenny, what is all that stuff you've been 
talking?" "Shakspeare slightly altered so that the 
audience would understand it," replied Kenny, without 
a smile crossing his kingly face. "Anthony Pasquin," 
whose real name was Williams, had the entree to the 
green room, and one evening while there, Kenny, 
dressed in his regal robes, and having the air of royalty 
itself, strutted in. Pasquin was a high tory, and glanc- 



RECORD OF THE BOSTON STAGE. 29 

ing at Kenny he said : " They may talk about republi- 
canism, as much as they please ; but you, Kenny, I con- 
sider the only real republican in this country. Kenny, 
a little toryish himself, quickly retorted, " How so ? " 
"Why," said Pasquin, " you murder all the kings." 
His offended majesty strutted off indignant at the at- 
tack, and was soon giving his wholesale orders on the 
stage. 

The company of Hallam and Hodgkinson closed their 
performances on the 20th of January, 1796, and returned 
to New York, where they opened in the following 
February. 

We have alluded to Mr. John Hodgkinson, the first 
actor who visited the Western world in possession of a 
transatlantic reputation as a man of considerable ability. 
He was born about 1765. His career as a son of Thespis 
commenced, like many others, in a quiet cellar, fitted 
up by juveniles, for the purpose of dramatic entertain- 
ments on a very limited scale ; the taste for the stage 
having been acquired by visiting the exhibitions of 
strolling players. His parents kept a public house in 
Manchester, England ; and John, when a boy, aided 
them in their laborious duties by discharging the offices 
of pot-boy, though while quite young he was bound 
out as apprentice to a silk weaver. The interests of 
his masters were, however, secondary to his own incli- 
nations, which led him to cultivate his talents as a vio- 
linist, and secretly to manage a small company who 
spouted plays under his direction. Discovered in his 
subterranean retreat by his master, and routed from 
his adopted leadership, he resolved, being then about 
fifteen years of age, to start in the world on his own 



30 RECORD OF THE BOSTON STAGE. 

account ; and with a crown in his pocket, the gift of two 
gentlemen who had been pleased with his execution on 
the fiddle, he set out from Manchester for Bristol, where 
he dropped his real name, Meadowcraft, and assumed 
the more homely one of Hodgkinson. On the road, 
Hodgkinson fell in with a wagoner, whose object it was 
at first to return the runaway apprentice to his home, 
but was dissuaded from the idea by the songs he fa- 
vored him with. So pleased was he with Hodgkinson, 
that on arrival in Bristol he introduced him to the 
landlord of the inn at which he put up, and on his 
recommendation was cordially received and entertained 
for some time without charge. Soon after his arrival 
the theatre was announced to be opened by the com- 
pany just returned from Bath, and John laid his plans 
to obtain an introduction to the manager. There was 
a long passage leading to the stage door, and for the 
first two days in the forenoons he stood at the outside ; 
but becoming impatient he took his station in the pas- 
sage, and, with his cap under his arm, sought to concil- 
iate those who passed in and out by obsequious bows, 
omitting, however, to salute one elderly gentleman, who 
was too repulsive and forbidding for our hero to honor 
with such attentions, but who in reality was the kind- 
hearted Keasberry, the manager of the company. 
John, however, though not the possessor of a fortune, 
resolved if he could not be a participator behind the 
scenes he would at least be a spectator, and a large 
share of his crown piece, though all his worldly fortune, 
speedily went in obtaining admittance to the gallery. 
At the expiration of five days, the watchful sentinel 
was honored by a word from Keasberry, and plainly 



RECORD OF THE BOSTON STAGE. 31 

told him that he wished to become an actor. He was 
conducted in upon the stage, and after rehearsal the 
manager announced that he had an individual who de- 
sired to be an actor. " What can you do ? " asked the 
manager. 

" If I can do nothing else I can snuff candles, or 
deliver a message, or do any thing that young lads can 
do." 

" You can, indeed ? " 

" Yes, sir ; and I can do more — I can play the 
fiddle, and sing a good song." 

" A song, song ! " shouted the members of the com- 
pany, who collecting round were ready to enjoy a little 
fun at the new comer's expense, and who were not 
backward in their jibes and remarks. 

" Give him a fiddle as he calls it," said Keasberry. 

Hodgkinson took the fiddle, and pitching upon the 
finale, at the end of the first act of the Padlock, he 
played it and sung it to the astonishment of all. The 
smile of derision on the faces of the actors changed to 
a smile of approval. 

u Can you sing with orchestral accompaniment ? " 
asked the manager. 

" I'll try," said John, and he succeeded so admirably 
that he requested the orchestra to play, " Oh, dry those 
Tears." 

At this request the company again smiled, as if they 
thought his vanity was carrying him too far. 

" Try him, by all means, try him," said Mr. K. 

He sang it so well, that their surprise was now 
raised to astonishment ; and at the conclusion, Mr. K., 
patting him on the head, said — 



61 RECORD OF THE BOSTON STAGE. 

" My boy, you'll never be a candle snuffer. For the 
present, however, you may carry a letter, or something 
more, perhaps." 

John was soon enrolled a member of the company, 
and was quite efficient in carrying letters, singing in 
the chorus, &c. He was extremely assiduous, and was 
aided by the prompter, who directed him what works 
to peruse, and so far as he was able made amends for 
the defects of his early education. In a short time he 
joined the company of the eccentric James Whiteley, 
manager of the extensive midland circuit, and was 
afterwards with Whitlock and Munden. and, during a 
provincial tour made by Mrs. Siddons, was appointed 
to perform the principal characters in every play. 
Hodgkinson, with all his abilities, was peculiarly sus- 
ceptible to the tender passion ; and coordinate with the 
rise of his fame and fortune, therefore, was the growth 
of the evils which were fated to endanger the one and 
make shipwreck of the other; and his professional 
success and his gallantries, running parallel to each 
other, like two wheels of a gig, left their marks on 
every road he travelled in the north of England, 
and involved him in considerable difficulty. The offer 
of Henry to visit this country in 1792, was accepted ; 
and with a Miss Brett, whom he made his legal wife 
on landing in America, he left Bath. Mrs. Hodgkin- 
son was an actress of considerable merit, but inferior 
to her husband, who was good in whatever he attempted, 
though his forte was comedy. This desire to be every- 
thing, actor, author, and manager, was a serious injury 
to him. He soon became a manager ; and in this city 
and other places, he was at the head of various 



RECORD OF THE BOSTON STAGE. 33 

establishments. A better stage manager probably 
never existed. He was posted up in all the details, 
and could if necessary jump into the orchestra and take 
the lead. His ability, however, as a financier, was 
wanting. He wrote a play, called " The Man of For- 
titude," and several minor pieces. He was a hand- 
some man, and possessed a remarkably retentive mem- 
ory, and would read over a new part of twenty lengths,, 
(a length is forty lines,) and lay it aside until the night 
before he was going to play it, attending the rehearsals; 
meantime ; then sit up late to study it, and the next 
morning repeat every word, and prompt others. Hodg- 
kinson, as we have seen, was connected with the early 
history of the drama in this city, and will again figure 
in this record. He died near Washington, on the 12th 
of September, 1805 ; and as it was feared that his 
demise was caused by the yellow fever, he was wrapped, 
in a blanket by negroes, and conveyed to an obscure 
burial ground on the Baltimore road. The following 
appeared in a Boston paper soon after his death. The 
author's allusion to Hodgkinson sleeping with the u wise 
and just," is more fanciful, perhaps, than true : — r- 

EPITAPH 

ON JOHN HODGKINSON, 

The Celebrated Comedian. 
Written at the Bequest of his theatrical friends, by Anthony 
Pasquin, Esq. 
Shrin'd, mid the ashes of the wise and just, 
Here Koscius sleeps in his primasval dust ! 
That tongue is mute which charmed a polish' d age, 
Gave zest to wit, and dignity to rage, — 
Those eyes no more, -will issue lambent fires, 
Nor Taste refine the tide of his desires ! 
Th' obedient Passions hail'd his mimic sway, 
3 



34 RECORD OF THE BOSTON STAGE. 

The Muses breathM their influence in his lay — 
With pond'roua apothegm and attic jest, 
lie smote the Demons of the guilty breast ; 
Bade virtue consecrate what Science saw, 
An<l nerv'd the system of our moral law. 
Though Death has triumph'd, Destiny has giv'n 
His fame to Honor, and his soul to Heav'n. 



CHAPTER III. 

:Success of the Theatre under the Boston Company. — Pit Tickets 
Counterfeited. — Management of J. B. Williamson. — A new Thea- 
tre talked of. — Proposals for building the Haymarket. — The Induce 
ments held out by C. S. Powell. — Legerdemain. — Arrival of Mr. 
and Mrs. G. L. Barrett. — Mrs. Whitlock. — Mrs. Bowton. — Open- 
ing of the Haymarket. — First Appearance of Mr. Dickson. — 
Biographical Sketch of Mr. Dickson, &c. — Jealousy of the Rivals. 
— John Burk. — His play of Bunker Hill. — Anecdotes of the Play. 
— John Adams, Critique. — Proposed Launch of the Frigate Con- 
stitution, and a Managerial Coup de Theatre. — A Patriotic Song. — 
.Destruction of the Federal Street Theatre by Fire. — Mr. Dear- 
born's Rooms. — Bowen's Columbian Museum. — An American 
Vauxhall. — Proposals made by the Fanatics. — Wisdom of the 
u Solid men of Boston." , 

The theatre, after the departure of the New York 
company, was dependent entirely upon the Boston 
company, and the business was fair. On the 25th of 
-January, " Othello " was brought out. Mr. J. B. "Wil- 
liamson, then just arrived in the country from the Thea- 
tre Royal, Covent Garden, made his first appearance in 
America, as Othello, and it was called a good piece of 
.acting. Mrs. Powell, who always adorned the boards 



RECORD OF THE BOSTON STAGE. 35 

sustained the part of Desdemona. On the same even- 
ing, Mrs. Williamsom, formerly Miss Fontenelle, ap- 
peared as Little Pickle in the " Spoiled Child," and it 
was pronounced " unquestionably the most brilliant and 
astonishing display of theatrical genius ever exhibited 
to an American audience." 

Col. Tyler was successful as a manager, so far as 
keeping order before and behind the scenes. He en- 
countered naturally many vexations, and not the least 
of these, was the counterfeiting his pit tickets. The 
tickets were so like the real ones that it was almost im- 
possible to detect the false from the genuine, and the 
cheat was only discovered when the house was made 
up, exhibiting a great discrepancy between the cash 
received and the tickets taken. A reward of thirty 
dollars was offered for the perpetrator of this forgery, 
which put an effectual stop to further proceedings. In 
April, Mr. Tyler voluntarily resigned the management, 
and Mr. J. B. Williamson was appointed to succeed 
him by the trustees. He carried the theatre through 
the season, which closed May 16th, 1796. 

During the early part of this year, Mr. C. S. Powell 
gave entertainments at Concert Hall, and revived " The 
Evening Brush." At this time political excitement 
between the two parties, then denominated Federal 
and Jacobin, ran high and furious, and it was believed 
by many, and not without reason, that the Federal 
Street was managed by those opposed to the Jacobins, 
and that the trustees, who were all of the federal 
school of politics, had upheld and justified the mana- 
ger in the introduction of pieces, tending to provoke 
the resentments and animosities of their political op- 



36 RECORD OF TIIE BOSTON STAGE. 

ponents. This idea was encouraged by the French 
Consul and others ; and Charles Stuart Powell, taking 
advantage of this condition of affairs, issued his pro- 
posals for building a new theatre, to be called the Hay- 
market. He stated that it could be erected for $12,000, 
which he proposed to raise by subscription, and to 
divide the stock into sixty shares, at $200 per share. 

Among other inducements he held out, was the 
promise of a benefit every season for the widows and 
orphans, which " he doubts not will be a stimulus for 
the manager of the other house to do the same ; by 
which means, both ends meeting, it will amount to a 
considerable sum, and draw on each party the blessings 
of the indigent, and make their theatrical pursuits 
not subversive, but subservient to a laudable purpose." 
Every subscriber was to be guaranteed a season ticket 
during life, even though he sold his share, " provided 
said share is sold to Charles Stuart Powell. " He pro- 
posed to take the theatre on a lease of fourteen years, 
at an annual rent of $1,200. He concludes his pro- 
posals by saying : — 

"The following arrangements shall be made for the ease and con- 
venience and general satisfaction of our fellow citizens. The pit 
shall be spacious, so as to be able to admit them at 3s. The galleries 
on the same extensive plan. The first gallery 2s. 3d. ; where our 
citizens may go with their wives, or into the pit, as in Europe. The 
upper gallery, Is. 6d. These prices never to be altered." 

A meeting of Powell's friends was held in Concert 
Hall, and the stock was immediately taken up. The 
Boston mechanics were not partial to the Federal 
Street, and favored the project. Daniel Messenger, 
Mr. Homer, and others, took stock, and those who were 



RECORD OF THE BOSTON STAGE. 37 

not able to pay the money, also subscribed for shares, 
and paid in labor, furnishing the material for construct- 
ing the building. The site selected was near the corner 
of Tremont and Boylston streets, where now stand a 
block of brick houses, painted white. 

During the summer the Federal Street was occa- 
sionally opened for exhibitions and minor entertain- 
ments. Then, as now, foreign seigniors indulged in 
legerdemain, and optical illusions were sought after ; 
for we read that Seignior Falconi gave a choice enter- 
tainment there. The advertisement states that the 
Learned Swan, an early edition of " Macallister's 
Peacock," will appear, " the whole to conclude with 
the appearance of the ' Ghost of the celebrated Char- 
lotte Corde,' as when in the last act of stabbing Marat. 
She will appear a luminous body, enveloped in dark- 
ness, as large as life, and every feature distinguishable 
for the space of three or four minutes." 

The summer vacation was one of considerable acti- 
vity. The new house was approaching completion ; the 
manager, C. S. Powell, was on a visit to Europe to 
beat up recruits. The Federal Street was undergoing 
a thorough cleanliness, and a confidential messenger 
had also crossed the Atlantic to engage talent for this 
house ; and from time to time, notices were given 
through the journals of this or that acquisition to the 
old or new theatre. 

The arrival of actors tended to keep up an excite- 
ment. Among the first to arrive, were Mr. and Mrs. 
Giles L. Barrett, parents of George H. Barrett, Esq., 
familiarly known as " Gentleman George," who at that 
time was being instructed in the first principles of 



38 RECORD OF THE BOSTON STA* 

declamation. Mr. Giles L. Barrett and his lady had 
a good reputation in England as actors, and their 
advent to the new Ilaymarket was deemed a great 
acquisition. Mrs. Barrett was a pupil of Macklin's, 
and made her debut as Portia in London. Arriving 
several months prior to the opening of the new theatre, 
Mr. Barrett, to relieve the tedium, and for pecuniary 
emolument, — the hoarding of money never having 
been characteristic with the family, — gave lessons in 
fencing and in the manly art of self-defence. Several 
of his pupils arc still living in this city. One of our 
most eminent surgeons first gave exercise to his muscles 
under Barrett, and is probably indebted to that early 
training for the admirable manner in which he is able 
to execute the most difficult surgical operation with such 
skill and muscular power. Mr. Barrett was a perfect 
gentleman, somewhat vain, perhaps, as men of superior 
capabilities are apt to be, but therefore pardonable. A 
good anecdote is related of him. He announced a 
sparring exhibition, and, in order to give eclat to the 
affair, procured the assistance of a Jew, — a powerful 
person, who had some skill as a boxer, — whose name 
was Isaacs. On the night of the exhibition, Mr. Isaacs 
stood up as a sort of a butt, receiving Barrett's blows 
without flinching. " This blow," said Barrett, " is 
often used by the celebrated Mendosa ; " and then, by 
way of illustration, he would fall back and tap Mr. 
Isaacs on the skull. " This blow is that of another 
great boxer," continued Mr. Barrett, and Mr. Isaacs's 
eye would receive a rap. Before the illustrations 
were through of the various styles of the noted cham- 
pions of the ring, Mr. Isaacs's knowledge-box was in 



RECORD OF THE BOSTON STAGE. 39 

rather a confused state, and as the tutor was proceed- 
ing to illustrate still farther, Mr. Isaacs remonstrated : 
" It ish all vare foine, Monsieur Barrett ; but show de 
gentleman de blow of Isaacs." 

After going through the series Mr. Barrett said : 
" Now, gentlemen, I will show you the favorite blow of 
Mr. Isaacs." 

"No, sare," exclaimed Isaacs, "he vil show de blow 
hisself ;" and without more ado, he walked into Mr. 
Barrett with the fury of a Hyer, and completely throw- 
ing him off his guard, would have beat him from the 
stage, had not Barrett called for quarter. Isaacs 
granted it, and turning to the audience, said, " Dat ish 
Mr. Isaacs's blow." 

The season at the Federal Street commenced Sep- 
tember 15, 1796, when the " Dramatist "was produced. 
The part of Vapid was played by Mr. Chalmers, an 
English actor, who, it is said, left England on account 
of the jealousy which Lewis, the comedian, entertained 
towards him. He was a gentlemanly, high-minded 
man, and a good actor, receiving his £50 per night. 
Chalmers was a member of the stock for several sea- 
sons, and was held in high estimation by the citizens. 
His appearance was soon followed by that of the cele- 
brated Mrs. Whitlock, as Isabella, in the " Fatal Mar- 
riage." Mrs. Whitlock was sister to Mrs. Siddons, John 
Kemble, Stephen Kemble, and the veteran Charles 
Kemble, and was born at Warrington, Lancashire,. 
April 2, 1761. She Was a striking and pleasing resem- 
blance of her sister, possessing a full share of her noble 
air and elocutionary powers, with more amusing powers, 
of conversation. As Miss Elizabeth Kemble, she- 



40 RECORD OF THE BOSTON STAGE. 

acted some time at Drury Lane, till she married Charles 
Edward Whitlock, (a descendant of the great lawyer 
Whiteloek,) who was manager at the time of the Thea- 
tre Royal, at Newcastle-upon-Tyne. She was the sup- 
port and ornament of his company, and came out with 
her husband to America in 1793, through inducements 
held out by Hodgkinson. Mr. Whitlock was even then 
past the meridian of life, and dependent upon his 
wife's attractions. Of her powers as an actress, a Bos- 
ton critic remarked : — 

" Many votaries of the tragic muse, in their attempt to personate 
the leading characters of the drama, have discovered more amhition 
than talent; and in some instances, not destitute of merit, the mo- 
mentary display of partial excellence has been blemished by some 
outrage of sentiment, — 

' Which sham'd the noblest beauty that they ow'd.' 

But Mrs. "Whitlock never violates the unity of characters by depart- 
ing from the dramatic personages she assumes. There is less of the 
theatrical imposture, and more of the educated mind; less of the 
mockery of sensibility, and more of the discrimination of taste in 
her performances, than, perhaps, in strictness, the scenes of imitative 
life demand." 

Mrs. Whitlock had the honor of playing before 
George Washington, in Philadelphia. That great man 
was by no means a stoic at the sight of tragedy ; but 
lie hated to be seen weeping, and always wiped the 
tears with his handkerchief hastily from his face. 

Bates appeared as Justice Woodcock, in the opera, 
" Love in a Village," and Sharp, in the " Lying Valet." 
The company always included Mr. Jones, a great 
favorite, Mr. and Mrs. Rowson, and others. The men- 
tion of Mrs. Rowson will recall to the memory of more 
than one Boston matron, pleasant reminiscences of 



EECORD OF THE BOSTON STA.GE. 41 

tlieir early school days. Mr. Joseph T. Buckingham, 
in his late work, " Personal Memoirs," thus alludes to 
this lady : — 

B Mrs. Susanna Eowson was an acceptable and highly-valued cor- 
respondent of the Galaxy. Her contributions were chiefly of a 
religious and devotional character, and usually signed -with her 
initials, ' : S. E.'' She was the daughter of William Has well, an 
officer in the British Xavy, and, in 1786, was married to William 
Eowson, a leader of the band attached to the royal guards in London. 
Mr. and Mrs. Eowson were engaged by Mr. Wignell, the manager of 
the Philadelphia Theatre, and arrived in this country in 1793. Before 
she left England, Mrs. Eowson had been engaged in some of the pro- 
vincial theotres, and was an agreeable singer and performer in the 
musical after-pieces. She had also written some novels, and a few 
critical papers, which introduced her to the favorable notice of 
several distinguished characters among the nobility. The most 
popular of her works -was ' Charlotte Temple, a Tale of Truth,' 
over which thousands have ' sighed and wept, sighed and wept, and 
sighed again,' which had the most extensive sale of any work of the 
kind that had then been published in this country, — twenty-five thou- 
sand copies having been sold in a few years. While employed on the 
stage, in WignelTs company, she found time to employ her pen to 
advantage. She wrote a novel, called ' Trials of the Heart,' the 
1 Volunteers." a farce, founded on the Whiskey Insurrection in Penn- 
sylvania, another called ' The Female Patriot,' and a drama, called 
' Slaves in Algiers.' This couple came to Boston in 1796, and per- 
formed one season at the Federal Street Theatre ; and during that 
season, Mrs. Eowson wrote a comedy, called ' Americans in England,' 
which was performed for her benefit, and her last appearance on the 
stage. At the close of her engagement, she opened a school for 
young ladies, and afterwards removed to Medford, where her academy 
and boarding-house were thronged with pupils from every quarter. 
Her institution was afterwards removed to Newton, and again to 
Boston. While occupied in this laborious profession, she wrote a 
novel called l Eeuben andEachel,' which I remember to have read and 
admired when I was an apprentice. She published a dictionary, a 
geography, and, I believe, some other elementary books for the 
benefit of her pupils. Mrs. Eowson was singularly fitted for the 
office of a teacher. Her industry and intelligence were great, and 
her knowledge and skill in household economy was almost unparal- 



42 RECORD OF THE BOSTON STAGE. 

lcled. Such were her accomplishment?, her refined and moral 
principles, and her pious and charitable dispositions, that her friends 
were numerous, and her pupils represented the most respectable 
families in the community. Many of them are now to be seen in 
the refined and polished circles of the capital of New England. 
She died in March, 1824, respected, beloved, and regretted by all 
who knew her." 

The old theatre was a favorite resort for the residents 
of the city and neighboring towns. The audiences 
were more careful of their dress than those of modern 
days, and the ladies, especially, paid that attention to 
their toilets, which is now only bestowed when a visit to 
Almacks or to the Opera is anticipated. A marshal of 
ceremonies was in attendance to escort ladies to their 
scats ; and a degree of ceremony observed, of which 
Bostonians had a faint counterpart when the gentle- 
manly ushers, under Le Grand Smith, conducted them 
to their places at Jenny Lind's concerts in 1800. The 
Old Theatre, as it was called, to distinguish it from the 
Ilaymarket, — then known as the New Theatre, — 
flourished singly and jdone ; but ere many months 
elapsed it had a formidable competitor for public favor, 
and a rivalry commenced, which, with short intervals, 
has ever since existed between two or more places of 
theatrical entertainment in this city. 

On the 2Cth of December, 179G, the Ilaymarket 
opened. It was an immense wooden pile, proudly over- 
topping every other building in the metropolis. It had 
three tiers of boxes, a gallery, a pit, drawing-room, &c. 
The company was strong and notable, from the fact 
that it introduced to an American public several who 
have since made Boston their home, and are closely 
identified with the subsequent theatrical history of this 



RECORD OF THE BOSTON STAGE. 43 

city, while many, who have been, and still are favorites 
on the stage, can trace their genealogy back to mem- 
bers of this corps. The company embraced Mr. and 
Mrs. G. L. Barrett, Mr. and Mrs. Simpson, three Miss 
Westrays, (daughters of Mrs. Simpson, by a former 
marriage,) and a corps de ballet, among whom were 
Francisquy, Yal, Lege, and their ladies. The opening 
play was Mrs. Cowley's " Belle's Stratagem," with the 
following cast: — Doricourt, S. Powell; Sir George 
Touchwood, Marriot ; Flutter, C. Powell; Saville, J. 
H. Dickson, (first appearance in public ;) Courtcdl, 
Taylor ; Villars, a young American ; Hardy, Simson, 
(first appearance;) Letitia Hardy, Mrs. S. Powell; 
Lady Frances, Mrs. Hughes ; Miss Ogle, Miss Harri- 
son, (afterwards Mrs. Dickson ;) Mrs. Rackett, Mrs. 
Simpson, (first appearance). Mrs. Marriot, and others, 
were also attached to the theatre. The play was 
entirely successful. Mr. Simson made a hit as Hardy, 
and at once established himself as a favorite, and 
others were equally well received. Mr. Powell deliv- 
ered an address, written by himself, which was highly 
applauded. This fortunate opening was followed by 
the appearance of Mr. G. L. Barrett, as Ranger, in 
the " Suspicious Husband," (Dec. 28 th,) Mr. William- 
son, (from Covent Garden,) as Tom Tug, in the 
" Waterman," (Dec. 30th,) and Mrs. G. L. Barrett's 
impersonation of Mrs. Beverley, in Moore's tragedy of 
the " Gamester," first acted at Drury Lane in 1753, 
(Jan. 2, 1797,) all of whom appeared for the first time 
in America, and proved great cards. The name of Mr. 
Dickson will undoubtedly recall to many of our elderly 
readers the palmy days of Old Drury, — those da y 



44 RECORD OF TIIE BOSTON STAGE. 

when Bernard, Dickson, Mrs. Powell, and others, per- 
formed to houses crowded from pit to gallery with the 
fashion, the beauty, and the talent of our city, — when 
the Perkinses, the Parkmans, the Sullivans, had their 
boxes, and the dress circle presented a sight, seen of 
later days but too seldom. 

The hand of time rested lightly on Mr. Dickson, 
and preserved him to a ripe old age, rich in that rev- 
erence of friends, which a life of worth and integrity 
gained for him. Mr. Dickson died on Friday morning, 
April 1st, 1853. 

For a few days previous to his death he had been 
unusually cheerful, taking great interest in matters 
which of later years had possessed but little attraction, 
and his friends were anticipating many years of enjoy- 
ment in communion with a mind richly endowed with 
natural gifts, and possessing in an eminent degree, for 
a man of his age, marked and peculiar powers of re- 
tention. His associations in early life had enabled 
him in many matters to obtain a correct knowledge of 
events, while his intimacy with almost every man of 
local distinction during his lifetime, opened for him a 
store of historical and biographical reminiscences, which 
gave to his conversation an unstudied attractiveness. 
In social intimacy with those who were his cotempo- 
raries, he dwelt with pleasure upon the past. He du- 
plicated, as it were, his earlier years of enjoyment- 
To the young and inquiring he never withheld any- 
thing that might be conducive to their interest, and in 
more than one instance, at great personal inconve- 
nience, imparted information of value, which otherwise 
would have passed unrecorded. Mr. Dickson is known 



RECORD OF THE BOSTON STAGE. 45 

to us as manager, actor, and merchant, and in each of 
these callings he acquired distinction. He was born in 
London in the year 1774, and at the age of twenty-one 
came to Philadelphia, where he had an uncle. His 
stay there was brief. At a dinner of a few friends he 
made some remarks, and quoted so aptly from Shak- 
spea,re, delivering the passages with such accuracy, that 
his companions declared him admirably qualified for 
the theatrical profession. Prior to his coming to this 
country, he had associated with members of the pro- 
fession, and had acquired some little knowledge of 
declamation ; but his education in a mercantile house 
had been pursued with the idea of becoming a merchant. 
To this training, and a perfect knowledge of accounts, 
may be partly attributed his success in after life. In 
1796, Mr. Charles S. Powell, who had then contracted 
for the erection of the Haymarket Theatre in this city, 
visited Philadelphia for the purpose of securing a com- 
pany, and engaged Mr. Dickson and a Mr. Trenchard 
to do the minor business of the theatre. The youthful 
Thespians made the passage to this city in a vessel. 
It was Mr. Trenckard's first experience of a sea life, 
but he subsequently became a sailor, and at the time 
of his death was a commander in the American navy. 
On their arrival, they took lodgings with Mr. Dear- 
born, then the principal of a young ladies' school, loca- 
ted in what is now known as Theatre Alley. It was 
customary to close the quarter with declamations and 
private theatricals; and it was under such auspices 
that Mr. Dickson first trod the boards, wearing on the 
occasion the garments borrowed of a militia officer. 
He had at this time changed his name for family con- 



40 RECORD OF THE BOSTON STAGE. 

siderations, and called himself Dickenson ; but in after 
years, the more certainly to render his legal title to 
property secure, he assumed his real name, by author- 
ity of the legislature, and became naturalized. The 
Hajmarket Theatre, as we have stated, -was opened on 
the 2Gth of December, 1700, when " Belle's Stratagem" 
Wftfl performed, Saville, by Mr. Dickson, his first appear- 
ance in public ; Letitia Hardy, Mrs. S. Powell ; and 
Miss Ogle, by Miss Harrison, sister to the last named 
lady, and afterwards Mrs. Dickson. lie gave at that 
time but little promise of the possession of histrionic 
talents ; but he was attentive to his business, and his 
study being remarkably rapid, he was highly valuable 
to the management, who termed him his " sheet anchor," 
being ready at a short notice to supply a deficiency 
to the best of his ability. The theatre under John 
Hodgkinson was not remarkably successful, and for a 
short time Mr. Dickson was connected with Mr. Tren- 
chard (who did not carry out his intention of adopting 
the stage) in business. This was brief; for when the 
Boston Theatre was rebuilt in 1798, after its destruc- 
tion by fire in February of the same year, Mr. Dickson, 
under Hodgkinson, became attached to it in the capa- 
city of prompter and deputy manager; and to his 
charge was intrusted the general superintendence of 
affairs. Mr. Dickson, Avhen first offered the post, re- 
fused it; but Hodgkinson assured him that he could 
learn more in one year by holding the prompt book, 
than he could by acting seven, — a remark which was 
fully realized by the recipient of this valuable hint. 
He occasionally went on, when necessity required it ; 
and his adoption of a particular line of business, that of 



RECORD OF THE BOSTON STAGE 47 

leading old men, was the result of mere accident. Mr. 
Bates, who was cast for Sir Oliver Oldstock, in " He 
TTould be a Soldier," was taken sick. He sent for Mr. 
Dickson in the morning, and begged of him to fill the 
part ; but his natural modesty at once compelled him, 
from attempting to give satisfaction in a character 
which Mr. Bates had made his own. The case was 
one that required immediate decision, and from a spirit 
of accommodation Mr. Dickson consented; and his suc- 
cess was unequivocal. During the season of 1802 and 
1803, he appeared as Sir Anthony Absolute, and for 
years he was the sole impersonator of this character on 
the Boston boards. His acting displayed the most ac- 
curate and critical nicety both in conception and rendi- 
tion, while his attention to the propriety of dress, and 
the delivery of the language, gave him at once a pow- 
erful hold upon public patronage. His benefit for many 
years was honored by the attendance of the elite, who 
appreciated the worth of the man and the talent of 
the actor, and resulted always in the receipts exceed- 
ing a thousand dollars. 

In 1806, Mr. Dickson became joint lessee of the 
Boston Theatre with Snelling Powell and John Ber- 
nard, under whose auspices the theatre did a most 
flourishing business. He^ave to the " Forty Thieves," 
at the time of its production, a powerful impetus, by 
his impersonation of Mustapha, and through his exer- 
tions, the play was put on the stage in a style of un- 
paralleled magnificence. As manager, he visited Eng- 
land during his summer vacations, (and during his life 
crossed the ocean upwards of forty times,) to engage 
talent, and brought to this country many of the most 



48 11EC0RD OF THE BOSTON sTA<,i:. 

popular favorites of the day. With Cooper, he was 
instrumental in inducing the great George Frederick 
Cooke to visit America. The Duffs and others came 
out under his protection ; we may truly say protection, 
for his friendship was cautiously bestowed, but once 
given, it knew no limit. After Bernard's retirement, 
the firm was Powell & Dickson; subsequently Powell, 
Dickson, & Duff; and still later, after the death of 
Mr. Powell, in 1821, he was connected with M 
Powell 6c Kilner. and only retired when Kilner Sc Finn 
became the lessees. Hi- retirement from the active 
duties of his profession took place many years prior to 
his release of the management ; for on the 14th of 
April, 1817, he took his leave of the public, appearing 
as Cusey, in " Town and Country." He appeared, how- 
ever, twice after this, on the occasion of Mrs. Powell's 
benefits ; his last appearance on any stage was on the 
14th of May, 1821, when he appeared as Sir Robert 
Bramble, in the " Poor Gentleman," Will Steady, in 
"The Purse," and Tag, in the « Spoiled Child." 

"When Mr. Dickson first came into the management, 
there was existing a bitter feeling against theatres and 
theatrical representations. The hostility was not con- 
fined to the ignorant ; but many families were so deeply 
imbued with puritanical ideas, that they never ventured 
beneath the roof of a playhouse. To conciliate this 
class, required not only good judgment, but a personal 
example ; and in a very few years, those who had been 
bitter opponents became warm friends, when they per- 
ceived that men of industry and character were engaged 
in the management. The esteem in which Mr. Dick- 
son WHS held. portr :i -'i+' ^ n™ x n^iql]v to th' 1 ectnhlisb- 



RECORD OF THE BOSTON STAGE. 49 

ment of the drama on a firm foundation, not only in 
this city, but in Providence, Newport, Portsmouth, &c, 
where the company, during the summer, gave represen- 
tations. Under his auspices, the theatre became a 
charitable institution, dispensing of its receipts to the 
poor and the unfortunate. There is scarcely a con- 
temporary society but received aid from some benefit 
given at the old theatre, and the proceeds of all 
premiums on great attractions were freely distributed 
among the deserving. The money thus distributed 
was not confined to any locality ; for the residents of 
Savannah, Geo., and of Portsmouth, N. H., when their 
cities were laid in ruins by fire, received most generous 
aid. Upwards of six hundred dollars were sent to the 
latter place; and in acknowledgment of it, a com- 
mittee tendered their heartiest thanks for the exercise, 
as they truly remarked, of " that benevolence so con- 
genial to gentlemen of your profession." Mr. Dickson,, 
cherishing sentiments of respect for the religious rites 
of society, often at loss to himself, closed his theatre on 
daysfof public fast and church days, deeming it a duty 
he owed to society and the cause of good morals. 

We have spoken of Mr. Dickson in his public capa- 
city. After his retirement from the active duties of the 
profession, he was, till the time of his death, engaged 
in business. His youthful habits of economy procured 
for him the basis of an ample competence, laboriously 
and honestly accumulated. His body was followed to 
the grave by many of his fellow citizens. Honest in 
his dealings with all, scrupulously exact in his inter- 
course with his fellow men, possessing a generous heart 
4 



50 BBOOSD OF THE BOSTON STAGE. 

and liberal ideas, lie departed, having fulfilled an honor- 
able mission. 

In thus paying a brief tribute to one who so long 
swayed the fortunes of the drama, we have anticipated 
some events which will necessarily form a portion of 
this record ; but the reader will pardon both the digres- 
sion and repetition. 

The three Miss Wcstrays, who were members of the 
Ilaymarket company, will be recollected by many of 
our elderly readers, and perhaps remind them of their 
early days of gallantry — for these young ladies had 
many admirers. Miss E. Westray was afterwards the 
celebrated Mrs. Darly, who, to personal beauty and 
grace, united a delicacy that interested, and a naivete 
that fascinated. More than one susceptible heart ac- 
knowledged the power of her charms, and after her 
marriage, the jealous husband took forcible means to 
decrease the number. Another of the Miss Westrays 
married Mr. Wood, and the third was married to Mr. 
Villiers, and, subsequently, Mr. Twaits. 

The prosperity of the Ilaymarket stimulated the 
actors at the old theatre to exert all their energies, 
though the contest for superiority was against fear- 
ful odds. The most intense jealousy existed between 
.the stockholders, managers, and others connected with 
the two establishments, and the stockholders of the 
Federal Street, being gentlemen of wealth, spared no 
expense to injure their new competitor. Each share- 
holder had his night, when he not only paid the whole 
expenses, but took pride in having a crammed house. 
Tickets were sold till the demand w r as answered, when 



RECORD OF THE BOSTON STAGE. 51 

the balance were given away to those persons who 
would pledge themselves never to enter the Haymarket. 
Many thus obtained free entrance to the old house dur- 
ing the season. An elderly gentleman informs us that 
he was a " dead head " under this promise, and for a 
long time kept it, till his fellow apprentices lauded a 
play performed at the Haymarket to such a degree 
that he resolved to have a peep at it. This he did by 
quietly visiting the gallery of the Haymarket, where 
he slaked his curiosity and returned home, trusting 
that he had enjoyed his stolen pleasures, unknown to 
any one. The next day, however, he was called up by 
his master, a firm friend and stockholder in the Federal, 
and severely reprimanded for breaking his faith, and 
visiting the enemy. On one occasion, John Burk, the 
editor of the Polar Star and Daily Advertiser, was 
accused by the Federal Street party of gross partial- 
ity, owing to a mistake of the printer in setting up the 
advertisement giving the wrong evening of perform- 
ance. Burk was a man who prided himself on his im- 
partiality, and he enters into a lengthy explanation to 
prove that it was not done with malice p7*epense, but 
originated entirely through inadvertence. The Federal 
Street at this time was obliged to reduce its scale of 
prices to a portion of the house, and adopted the follow- 
ing prices : Pit, fifty cents ; Slips and Gallery, twenty- 
five cents. The " Mountaineers " and other spectacles 
were produced, and William Charles White, a gentleman 
of Boston, made his debut before the close, which took 
place on the 5th of June, 1797. 

This ballet corps, consisting of Val, Lege, Audain, 
Francesquay, and their ladies, was a very fine one. 



52 RECORD OF THE BOSTON STAGE. 

Monsieur Val was a nobleman by birth, but lost his 
fortune during the French Revolution. He and the 
others were gentlemen of fine manners, and true 
artistes. After their engagement had concluded here, 
they went south, and thence to St. Domingo, where un- 
fortunately for themselves, they arrived at the time of 
the insurrection of the negroes. They were im- 
prisoned, and their black captors made them perform 
occasionally for their own amusement, though they did 
not exempt them from the general massacre of the 
whites which followed. 

The Haymarket brought out a piece called " Bun- 
ker Hill, or, the Death of General Warren," written 
by John Bark, the editor. As the same piece, or an 
adaptation, is performed occasionally, we give the first 
bill : — 

HAYMAEKET THEATRE. 

(Never Performed.) 

This Evening, February 17, will be presented a Tragedy, entitled 

the 

BATTLE OF BUNKER HILL; 

Or, The Death of General Warren. 
"Written by Mr. Burk. 

Gen. Warren, Commander at Bunker Hill, . Mr. Barrett. 

Col. Prescott, ( Major Generals in the ) . . Mr. S. Powell. 

Col. Putnam, ( American Army, ) . . Mr. Hughes. 

Gov. Gage, Mr. Marriott. 

Lord Percy, Mr. Williamson. 

Gen. Howe, Mr. Dickson. 

Col. Harman, Mr. Fawcett. 

American Grenadier, Mr. Wilson. 

Officers, Soldiers, and attendants by the rest of the Company. And 
Col. Abercrombie, in love with and beloved by Elvira, an Ameri- 
can lady, captive in Boston, .... Mr. Taylor. 

Anna, attendant on Elvira, .... Mrs. Hughes. 

And Elvira, American captive, .... Mrs. Barrett. 



RECORD OF THE BOSTON STAGE. 53 

To conclude with a grand procession in honor of Warren, whose 
dead body is borne across the stage on a bier — the American army 
moving slowly to the sound of solemn martial music — young women 
dressed in white, holding flowers in their hands, each with one hand 
on the bier, will accompany the procession. At proper intervals, 
flags will display Eepublican emblems, and popular devices. 
Principal Mourner and Singer, . . . Miss Broadhurst, 

who will introduce an original patriotic Elegy, to the much admired 

tune of Eoslin Castle, over the bier of Warren. 
Second Singer and Mourner, . . . Mad. Pick. 

Third, Miss Eliz. Westray. 

Fourth, Miss Gowen. 

Fifth, ....*... Miss Westray. 

Sixth, Miss Eleo. Westray. 

The Prologue to be spoken by . . . . Mr. Powell. 
Scenery incidental to the piece, painted by . Mr. Audain. 

American Music only will be played between the Acts. 

To which will be added the favorite Musical Entertainment, called 
THE PADLOCK. 

Vivat Respublica. 

At that time it was well received, the British being 
well peppered, and. the "stars and stripes" floating 
triumphant. It was local in character, and the scene laid 
in Charlestown and Boston. Mr. Dickson personated 
General Howe, and how acceptably may be judged from 
the fact, that the author made $2,000 by the play. Mr. 
Buckingham, in his " Reminiscences of Newpapers," 
and gentlemen connected with them, alludes to Burk, 
and states that his paper suddenly departed this life 
in 1797. Of the tragedy of its author, he says: — 
" The tragedy had not a particle of merit, except its 
brevity. It was written in blank verse, if a composi- 
tion having no attribute of poetry could be so called. 
It was as destitute of plot and distinctness of character 
as it was of all claim to poetry. Burk afterwards 
was the editor of a political paper in New York, called 



54 RECORD OF THE BOSTON STAGE. 

the Time Piece, and was arrested on a charge of pub- 
lishing a libel, contrary to the provisions of the Sedi- 
tion Law of 1798. The issue of the affair I never 
knew. About the year 1800, it was reported that he 
was killed in a duel in one of the Southern States." 
The literary merits of the piece, according to this, were 
very few, but the success, we are assured, was great, 
which does not speak volumes for critical acumen of 
the early theatre-goers. Dunlap, in his " History of 
the American Stage," alludes to a History of Virginia, 
by Burk, as exhibiting talent and learning. 

We have heard one or two anecdotes of this piece 
which are too good to be lost. The company attached 
to the Boston Theatre, during the summer vacation, 
generally visited some of the provincial towns. On one 
occasion, while at Portland, Mr. Dickson appeared in 
the play as Colonel Abercrombie, who, wishing to marry 
an American lady, is told that he must desert the cause 
of the British, and embrace the American side. In 
this dilemma, he soliloquises, exclaiming : " Heavens ! 
that madness should so bereave a man of his senses 
as to doubt which of the two to choose — love or 
honor." " It generally does, Mr. Dickson," exclaimed 
a voice in the pit, which called forth shouts of laughter. 
The person who had thus given his opinion was 
Mr. George, for many years an editor in that city — 
an unfortunate cripple, who was especially licensed, by 
public consent, to say what he thought, without regard 
to time or place. On another occasion, an actor came 
out to announce the play of the following evening: 
" Ladies and gentlemen," said he, " we thank you for 
your attendance this evening, and to-morrow night we 



RECORD OF THE BOSTON STAGE. 55 

shall have the honor of presenting you the much 

admired play of ;" here the actor's memory 

proved treacherous — he bungled, and was at a loss 
what to say, when little George came to his rescue, by 
exclaiming : " It is no consequence for you to mention 
it — the bills are sticking up in the lobby." The play of 
" Bunker Hill " was performed in New York. Presi- 
dent Adams, being in the city, was invited to attend, 
and at the conclusion of the piece he was conducted 
by the managers and leading actors to his carriage 
with considerable pomp and show. Mr. Barrett, who 
had performed General Warren, ventured to express 
the hope that the President had been pleased. " Sir," 
replied Mr. Adams, " my friend, General Warren, was 
a scholar and a gentleman, but your author has made 
him a bully and a blackguard." Mr. Adams's critique 
was at once concise and correct. 

The season at the Haymarket, which closed in June, 
1797, was not very prolific in those results so pleasing 
to managers. Mr. C. S. Powell and Giles L. Barrett 
had a quarrel ; the former attacked the latter through 
the newspapers — accused him of being a dictator — 
and the editors promise a reply from Mr. Barrett. A 
pause of some days' duration occurs, when Mr. Barrett 
intimates that he does not wish to strike a man when 
he is down, alluding, probably, to Powell's pecuniary 
distress, and simply publishes the contract with Powell, 
as a vindication of his course. Mr. Barrett played one 
night at the old house prior to its closing. Mr. .C. S.- 
Powell gave one of his entertainments, " For Rubbing 
off the Rust of Care," at the new theatre on the 4th of' 
July, 1797 j and Chalmers, Williamson, and Barrett also- 



5G EECOBD OF THE BOSTON STAGS. 

gave an olio of readings, lectures, recitations and songs, 
ut the Columbian Museum, entitled " Nature inNubibos, 

or a Melicosmeotes — an antidote for the spleen." 

The JIaymarket, although the season closed, was 
opened for benefits till the 2 1th of July, 1707, when 
Mr. Ilodgkinson returned to Boston, and assumed the 
management. Dulnap states that " his receipts on the 
opening night were only $220. lie engaged Mr, and 
Mrs. C. Powell at s:j2 per week ; Mr. and Mrs. 
S. Powell, and Miss Harrison at $42; Mr. and Mrs. 
Simpson, and two Miss Westrays :it s.jO ; and Mrs. 
Pick at $12; in addition to his company, already too 
large for the time ; " and the same authority states, that 
before the season terminated, his expenses were ^1,100 
per week. 

In September of this year, Ilodgkinson accomplished 
a managerial coup <le theatre. The frigate Constitution 
was announced to be launched on the 20th from Bal- 
lard <5c Hart's yard. The President of the United 
States, John Adams, who was then at Quincy, was to 
be present ; and thousands, even in those days of family 
vehicles, were expected to flock in to see the " pride of 
the Columbian navy " glide into the water. Mr. Hodg- 
kinson conceived the idea of dramatising the launch, 
and in forty-eight hours completed a very respectable 
production. The parts were given out, the scene 
painter wrought out on canvas a representation of the 
launch, and for the night of the event it was announced ; 
its attractive features more vividly and glaringly set 
forth than ever Barnum heralded the advent of any of 
his novelties. President Adams, the Governor and 
Xieutenant-Governor of the Commonwealth, and other 



RECORD OF THE BOSTON STAGE. 57 

dignitaries, proceeded to the yard ; but the ship only- 
moved about twenty feet, where she remained firm. 
The papers stated that the contractor was unwilling to 
risk a second attempt that day from "motives of 
Safety ; " and others thought it a wise dispensation of 
an overruling Providence, for if she had taken to the 
watery element, thousands of small boats filled with anx- 
ious visitors would have been swamped. Another unsuc- 
cessful attempt was made subsequently to launch this 
noble frigate, but it was not until the third trial, 21st 
of October, 1797, that she finally "walked the waters," 
where she has since floated with such honor to our 
country. The launch at the theatre, however, came off 
on the first night of the proposed launch, and during its 
performance, the following song was sung by Tyler — 
no relation to Col. J. S. Tyler: — 

I. 

" Come, all" Columbian sailors here, 
Where honest hearts are void of fear, 
Who wish in Freedom's cause to steer, 4 

Huzza for the Constitution. 
No frigate stems the watery main 
' Gainst which we won't her rights maintain; 
We all are staunch 
To our favorite Launch, 
No pirate but we will make fly, 
Prepared to conquer, boys, or die, 

Along with the Constitution. 

n. 

" We cruise to guard our country's trade 
Not other's liberties invade ; 
Columbians prize the laws they've made 

0' the glorious Constitution. 
Oppression freemen all disdain, 
Yet freedom's cause we will maintain 



58 RECORD OF THE BOSTON STAGE. 

'Gainst all the world, 

Our flag's unfurled : 
We fear no power, we know no friend ; 
"When forced our commerce to defend 

With the frigate Constitution. 

III. 

" Sweet Girls, when we are far away 
We'll still retain hope's cheering ray, 
That love's soft ardor will repay 

Our toils in the Constitution. 
So now for dangers we prepare 
Of honor each to gain his share, 
We (earless brave 
The dashing wave, 
You'll cheer us on as we bid adieu, 
With three huzzas to the jolly crew 

Of the Federal Constitution." 

The Haymarket closed for the season on the third of 
November, 1797, with a "Cure for the Heart Ache," 
for the first time in America. Several benefits, how- 
ever, subsequently took place. On the 6th of Decem- 
ber, 1797, the Federal Street opened, the company com- 
prising Mr. and Mrs. Bates, Mr. and Mrs. Baker, Mr. 
and Mrs. Barrett, Mr. and Mrs. Harper, Mr. and Mrs. 
C. Powell and daughter, Mr. and Mrs. S. Powell. On 
the 22d of January, 1798, Messrs. Barrett and Harper 
assumed the management, and the play of the " Roman 
Father " was performed. 

During the summer recess the old theatre had been 
improved, slightly enlarged, and the decorations were 
new. The season, under Messrs. Barrett and Harper, 
was very brief, though entirely successful. They paid 
promptly, and every thing betokened prosperity ; the 
company was a strong one, and the pieces brought 



RECORD OF THE BOSTOX STAGE. 59 

out were got up with great care. An event occurred, 
however, which checked the tide of prosperity. 

When Mr. Hodgkinson was in Boston, in 1794, he 
had two dressing-rooms built in the rear which were 
heated by stoves. On the afternoon of the 2d of Feb- 
ruary, 1798, the porter built the fires as usual, and left 
wood under the stove to dry, which probably ignited ; 
for a few hours afterwards, fire broke out in that por- 
tion, and the building fell a prey to the destructive 
flames. Nothing of consequence was saved, though 
in the attempt to rescue a portion of his wardrobe, Mr. 
Barrett was seriously injured by the falling of a door. 
The brick walls confined the fire to the building, though 
citizens from Charlestown, Roxbury, Dorchester, and 
Cambridge were attracted to the spot by the great 
light, and were " indefatigable in their efforts to sup- 
press the flames." Such was the magnitude of the fire, 
that an elderly friend informs us that he well remem- 
bers when intelligence reached his school, where he 
was at the time, that the master immediately dismissed 
the boys, who rushed to the conflagration. The stores 
were generally closed, the occupants having deserted 
their ledgers to witness the fire. The cost of the build- 
ing (including probably the land) was seventy thou- 
sand dollars, and only one share was covered by insur- 
ance ; but this did not discourage the proprietors, who 
at once resolved to rebuild, with all expedition, a more 
elegant and commodious edifice. 

The Haymarket at that time had been leased to Mr. 
Hodgkinson. Mr. Barrett at once obtained a lease of 
it for a month, paying ten per cent, on receipts to Hodg- 
kinson : and a series of benefits for the actors who had 



CO RECORD OF THE BOSTON STAGE. 

suffered by the fire, took place. Dramatic olios were 
also given at Mr. Dearborn's rooms and Bowen's Co- 
lumbian Museum. Mr. Dearborn's rooms were located 
in Theatre Alley. This gentleman was an early in- 
structor of youth, and his school-room was the scene 
of several successful attempts at private theatricals. 
The school-room extended over that portion of the 
building afterwards occupied by Mrs. Dunlap. 

About this time it was contemplated to lay out a lot 
of land on the Cambridge side of Charles River bridge, 
on which there was a handsome grove of trees for an 
American Yauxhall ; but the project fell through. 

The opponents of theatricals again rallied, and pre- 
tended to see the hand of God in the destruction of the 
old theatre. Notices at once appeared in the different 
journals against theatrical entertainments, and an effort 
was made to revive the law against them. One writer 
authorizes the editor (Benjamin Russell) of the Centi- 
nel to state that he will contribute three hundred and 
forty dollars towards demolishing the Haymarket The- 
atre, if the legislature will wisely direct the same; and 
another offers to relinquish his share in the Haymarket, 
on the same conditions, trusting that " the good citizens 
of Boston will receive the destruction of the old thea- 
tre as a serious admonition to encourage the design." 
The " solid men " of Boston were well aware, however, 
that a city's prosperity is dependent in a degree upon 
its public amusements, and wisely declined listening to 
the gratuitous advice of their opponents. 



RECORD OF THE BOSTON STAGE. 61 



CHAPTER IV. 

Visit of Cooper to Boston. — A Biographical Sketch. — Incidents of 
his Life. — Anecdotes. — His Death. — The Learned Pig. — Open- 
ing of the Federal Street Theatre. — Visit of President Adams to 
the Theatre. — Debnt of Master George Barrett. — Death of Wash- 
ington. — Observances at the Theatre in Philadelphia. — Obsequies 
in Boston. — The Monody at the Theatre. — Mr. Whitlock's Man- 
agement. — Mrs. Jones. — George Barnwell. — Anecdote. — Pizar- 
ro. — Eow at the Theatre. — The gloomy Days of the Drama. 

The destruction of the theatre was seriously felt by 
the corps dramatique. They were thrown out of em- 
ployment at a season when the southern theatres could 
afford them no relief. Several members went to Salem, 
and gave entertainments. Mrs. Powell appeared at the 
Columbian Museum, and Mr. Barrett gave fencing les- 
sons, prior to the brief season at the Haymarket, allu- 
ded to in the previous chapter. 

Hodgkinson in July, 1798, re-opened the Haymarket, 
and on the 27th Thomas A. Cooper, the tragedian, 
made his first appearance before a Boston audience as 
Hamlet, a character he had sustained in London with 
great applause. Mrs. Hodgkinson played Ophelia. 
On the second night of the season, owing partly to the 
want of attraction, but mainly to the presence of the 
yellow fever, the house was so thin that Mr. Hodg- 
kinson dismissed the audience. 

Thomas Apthorpe Cooper, the son of an Irish sur- 
geon, was born in 1776. His father was an Irish gen- 
tleman, and long resided at Harrow on the Hill. He 
entered the service of the East India Company, and 



62 RECORD OF THE BOSTON STAGE. 

died in their employ. Cooper's mother, visiting Hol- 
land, lie was left, when about nine years of age, with 
the celebrated William Godwin, who superintended 
his education, with the assistance of the celebrated 
Holcroft. He announced his intention of becoming an 
actor, and his friends sent him at once to Edinburgh, 
where Stephen Kemble then was. lie was recom- 
mended as able to perform Norval, but Kemble at once 
detected a lack of talent. He finally made his debut 
in the part of Malcom, and he was hissed before he 
got through his first effort. Mr. Kernblc's verdict 
was, " Order the treasurer to pay Mr. Cooper five 
pounds. Mr. Cooper, I have no further service for 
you." Cooper persevered, however, and before he was 
nineteen years of age he impersonated Hamlet and Mac- 
beth, and gained the applause of those who had witnessed 
the veteran skill of Garrick and Kemble. The politi- 
cal tendency of Godwin and Holcroft affected their 
pupil. The critics did not darkly hint, but directly 
affirmed that he was a Jacobin, and this had an effect 
upon his success. 

In 1796, Mr. Wignell, the manager of the theatres 
in Philadelphia and Baltimore, was in London, and 
made Cooper an offer which he accepted, and arrived 
at New York on the 16th of October, the same year, 
whence he proceeded with Wignell to Philadelphia, and 
there made his first appearance in America in the cha- 
racter of Macbeth on the 9th of December. His suc- 
cess, at first, was not great, but he had not then reached 
the height he afterwards attained ; and it is stated by 
Dunlap that on the night of his first benefit in America 
he called in the aid of an elephant to fill the house. 



RECOKD OF THE BOSTON STAGE. 63 

Cooper soon after commenced as tarring tour, and visited 
the leading cities. At one period he was quite indif- 
ferent, and rarely correct in his part; but he after- 
wards recovered from this fit of indolence, and took 
the eminent position he maintained for many years. 
Cooper was connected as manager with many theatres 
during his life. His great coup as manager was the 
bold stroke he made in England, by which he induced 
the great George Frederick Cooke to visit this country, 
which we shall allude to in a sketch of that eminent 
actor. Mr. Cooper, although an Englishman, became 
an American by adoption. He made several profes- 
sional visits to London, and in 1 827 appeared at Drury 
Lane. He was damned by the critics, but their opin- 
ions were not the unbiassed expression of honest minds. 
They intend to rebuke Mr. Cooper, not only for his 
desertion of England and his remark, that America 
was the country of his love and adoption, but for kid- 
napping Cooke, and his supposed enmity to Edmund 
Kean. Cooper, prior to 1830, had exhibited his tal- 
ents in sixty-four theatres, and visited every State in 
the Union. He had performed four thousand five hun- 
dred nights and travelled over twenty thousand miles in 
this country, and frequently he posted in his own vehi- 
cle between New York and Philadelphia. Mr. Cooper 
was twice married, and a son by his first union received 
an appointment in the navy of the United States. 

Cooper received a large amount of money for his ser- 
vices ; but he spent it with a prodigality too frequently 
characteristic of the profession. He lived in the most 
sumptuous style, and a more tasty equipage than his did 
not roll through Broadway. His society, when at the 



Ci KECORD OF THE BOSTON MA 

zenith of his popularity, was sought for by the most 
fashionable, and he moved in the best literary cin : 
The day of misfortune, however, came at last, and he 
lingered long on the stage after the prestige of his name 
had departed, obliged so to do from pecuniary consid- 
erations. In 1834, Mr. Cooper took a benefit in New 
York, when Miss Priscilla Cooper, his daughter, made 
her first appearance. The play was Knowlcs's "Yir- 
ginius," and the faet that a daughter, more in hopes of 
affording a support to an aired parent, than from any 
predilections for the stage, was to appear, attracted a 
great house. During the first scene, as well as the 
second, there wag an anxiety to behold the young daugh- 
ter. This was heightened in a wonderful degree, when 
Virginia* (Cooper) said: " Send her to me, Servia" — 
and every heart beat when Virginia (Miss Cooper) 
came tripping in and stood before her own father, say- 
ing : " Well, father, what's your will ? " the whole 
house burst forth in one simultaneous shout of appro- 
bation, louder and longer than Cooper himself had ever 
received. It was several moments before he was ena- 
bled to reply ; and indeed he could not if he would, for 
both the father and daughter w r ere so overwhelmed 
that their feelings found utterance in tears. Miss Cooper 
subsequently played in this city. 

His last appearance in this city was at the National 
Theatre, and to alleviate his want, benefits were given 
him in the different cities. 

Mr. Cooper's second wife was a daughter of James 
Fairlee Esq., of New York, by whom he had several 
children, among them Miss Priscilla Cooper, who mar- 
ried Robert Tyler, Esq. a son of President Tyler. 



RECORD OF THE BOSTON STAGE. 65 

Miss Cooper did the honors of the White House under 
her father-in-law, and secured for her own father an 
appointment in the Arsenal near Philadelphia, and 
subsequently at the Custom House at New York, and 
he died at Tyler's residence in Bristol, Pennsylvania, 
(April 21, 1849,) with perfect calmness in the arms of 
his daughters, Mrs. Tyler and Mrs. Campbell. He 
lies in the old churchyard at Bristol. His wife and 
several grand-children are around him. 

" Mr. Cooper, in his prime," says a critic, "possessed 
from nature the primary accomplishments of a pleas- 
ing actor ; a fine person, a voice of great compass, of 
most melodious silver tone, and susceptible of the great- 
est variety of modulation ; an eye of the most wonder- 
ful expression ; and his whole face expressive, at his 
will, of the deepest terror, or the most exalted compla- 
cency, the direst revenge, or the softest pity. His 
form in anger was that of a demon ; his smile in affa- 
bility that of an angel." 

Another writer remarks : " Mr. Cooper has exceeded 
every actor that ever trod the American boards in per- 
sonal requisites. His voice, figure, action, and coun- 
tenance, have never been surpassed ; the first in sweet- 
ness, fulness, and flexibility ; the next in beauty of pro- 
portions ; the third in ease, propriety, and grace ; and 
the last in tragic expression. In these physical excel- 
lences he was more rare than in -his judgment, in 
which, and in the niceties of reading and power of 
embodying the great characters of Shakspeare, he was 
not equal to some other actors." 

Mr. Joseph T. Buckingham said of Cooper, in 1820 : 
"Macbeth is Mr. Cooper's chef d'ceuvre. He is per- 
5 



C6 KECORD OF THE BOSTON STA< 

f ectly identified with the character. The dagger scene, 
which he plays in a style, altogether his own, is one of 
the sublimest efforts of histrionic genius. The terrible 
agonies of his mind, which proclaim their existence 
with ' most miraculous organ/ are too powerful to be 
long the object of attention. In the latter part of the 
play, after Macbeth has ' supped full with horrors,' the 
moral reflections are given with such exquisite beauty 
and feeling, that we almost forget the crimes of the 
murder, and pity the wretched victim writhing with 
the tortures of his own conscience." 

Anecdotes of Cooper are numerous. Joe Cowell, in 
his book, thus notices his first introduction to Cooper: — 
" A day or two after he addressed me behind the scenes 
with, 'Mr. Cowell, no one has been civil enough to 
introduce me to you, therefore I am compelled to do it 
myself!' and, after paying me some very handsome 
compliments, ended with inviting me to dine with him; 
and we have been very intimate ever since ; nor do I 
inow, in my large list of acquaintances, a more agree- 
able companion than Thomas Cooper. During my 
residence in the Northern States, I was a frequent 
guest, for a day or two at a time, at his delightful cot- 
tage at Bristol, Pennsylvania ; where the luxuries 
attendant upon affluence were so regulated by good 
taste, that Cooper never appeared to such advantage as 
when at home. His family was numerous, and very 
interesting. He used to boast of never allowing his 
children to cry. ' Sir, when my children were young, 
and began to cry, I always dashed a glass of water in 
their face, and that so astonished them that they would 
leave off; and if they began again, I'd dash another, 



KECOKD OF THE BOSTON STAGE. 67 

and keep on increasing the dose till they were entirely 
cured." 

We have alluded to Cooper's improvident manner of 
living. It is stated that one afternoon he was standing in 
Broadway with a gentleman, and he noticed a^ load of 
hay approaching. " I will bet you," said Cooper, " the 
value of my benefit to-night, against an equal sum, that 
I will pull the longest wisp of hay from this load." 
" Done," said his friend. The wisps were pulled, and 
Cooper lost. " Ah ! " remarked Cooper, with the 
greatest nonchalance, " I've lost two hours' acting." The 
benefit netted the winner upwards of $1,200. 

Mr. Cooper's performances in this city will be alluded 
to as we proceed. 

The theatre after Cooper's failure was closed for a 
short time, when it was re-opened with " Jane Shore," 
but Hodgkinson, whose expenses were $900 per week, 
called his company together and dismissed them for 
want of proper encouragement. A portion of the 
company then visited Newport, where the temporary 
theatre was lighted by huge tapers, burning in lard. 

During that summer, Bostonians were almost entirely 
deprived of amusements, and were obliged to seek 
recreation at the Columbian Museum, or patronize an 
exhibition which then visited the city, of the " Learned 
Pig " that did every thing but speak. The Federal 
Street Theatre, however, was rapidly rising, much im- 
proved in its interior. The architect, Mr. Bulfinch, had 
exerted himself to make it superior to any theatre in 
the Union, and at the time the interior was finished, it 
was unsurpassed for neatness and chastity of design, by 
any on this continent. "With some few alterations, such 



68 RECORD OF TIIE BOSTON STAf.K. 

as the substitution of the parquette for the pit, and the 
raising of the stage, changes in the lobby, it remained 
till pulled down in 1852, the same in general design. 
On the 29th of October, 1798, Mr. Hodgkinson opened 
the theatre. The pieces performed were a prelude, called 
* A First Night's Apology, or All in a Bustle," written 
by Milne, for the occasion ; " Wives as they Were and 
Maids as they Are ; " and the " Purse, or American 
Sailor's Return." The company was a strong one, and 
included Whitlock, Chalmers, Simpson, Williamson, 
Villiers, Kenny, Mrs. Hodgkinson, Mrs. King, and Mr. 
S. Powell. Mr. Hodgkinson spoke a dedicatory ad- 
dress, written by Mr. Paine, which commenced as 
follows : — 

" Once more, kind patrons of the Thespian art, 
Friends to the science of the human heart, 
Behold the temple of the Muse aspire 
A Phoenix stage, which propagates by fire ! 

u Each fault rescinded, and each grace renewed, 
By magic reared, and with enchantment viewed, 
Our dome, new mantled, 'mid its ravaged wall, 
Stands, like Antaeus, stronger by its fall ; 
And like Creusa's ghost, in Trojan strife 
Its spectre rises larger than its life! " 

It was at the opening of the Federal Street by Hodg- 
kinson, that Mr. Dickson became attached to it in the 
capacity of prompter and deputy manager. 

The season was not notable for any decided pecu- 
liarity worthy of comment, and it closed in April. The 
same month, Hodgkinson opened the Haymarket, with 
many of the old company and several new members. 
On the 5th of June, President Adams attended the 
theatre, when Mr. Hodgkinson sang Paine's song of 



RECOED OF THE BOSTON STAGE. 69 

Adams and Liberty. The receipts during the season, 
however, were not large, and Hodgkinson closed on 
the 4th of July, and left Boston never to return. 

Mr. G. L. Barrett was the next manager of the 
Federal Street, and the season commenced October 
14th, 1799, when u Laugh when you Can, Be Happy 
when you May," with other plays was brought out. 
The leading characters in the comedy were sustained 
by Barrett, Harper, Whitlock, Kenny, Simpson, Mrs. 
"Whitlock, Mrs. Simpson, Mrs. Harper, Miss E. West- 
tray, Mrs. Graupner ; and the present George Barrett 
made his first appearance on any stage as the child. 
Mr. Snelling Powell and Mr. Bates soon after joined 
the company. 

In December of 1799, an event occurred which 
threw a nation into mourning, and caused a gloom to 
overspread the land. About the 24th of the month tid- 
ings reached Boston that "Washington was dead. In 
every part of the country, the obsequies in memory of this 
great man were observed, and the theatre joined in the 
public testimony for the loss of America's Hero. In Phil- 
adelphia, on the 28th, the theatre, which was literally 
full to overflowing, displayed a scene calculated to 
impress the mind with the utmost solemnity and sorrow. 
The pillars supporting the boxes were encircled with 
black crape, the chandeliers decorated with the insignia 
of woe, and the audience, particularly the female part, 
appeared covered with the badges of mourning. About 
seven o'clock the band struck up ""Washington's 
March ; " after which a dirge was played, when the 
curtain slowly rising, discovered a tomb in the centre 
of the stage, in the Grecian style of architecture ; in 



70 RECORD OF THE BOSTON STAGE. 

the centre of it was a portrait of the General, encircled 
by a wreath of oaken leaves; under the portrait, a 
sword, shield, and helmet, and the colors of the United 
States. The top was in the form of a pyramid, in the 
front of which, appeared the American Eagle, weeping 
tears of blood for the loss of her General, and holding 
in her beak a scroll, on which was inscribed: "A 
Nation's Tears." The sides of the stage were decorated 
with black banners, containing the names of the several 
States of the Union. January the 10th, 1800, was the 
day devoted by the citizens of Boston to a public 
exhibition of that sorrow which preyed on every heart. 
The bells of the several meeting-houses were tolled at 
various periods of the day. Services were held in the 
South Meeting House, consisting of prayer by He v. 
Dr. Eckley, a hymn by Rev. J. S. Gardiner, a eulogy 
by Hon. George R. Minot, and appropriate music. 
The theatre, when the news of Washington's death was 
received, remained closed during the week, but on the 
evening of the public ceremonies it was opened, and 
a monody, according to the following notice, was de- 
livered after the plays : — 

A MONODY, 

ON THE DEATH OF 

GENERAL WASHINGTON. 

By Mrs. Barrett, 
In the character of the 

GENIUS OF AMERICA 

Weeping over the tomb of her beloved. Hero. 
With a solemn March of Officers, Drums, Fifes, Band of Music — 
Soldiers vrith Arms and colors reversed, forming a Grand Proces- 
sional Dirge. After the recital, Military Honors will take placo 
over the Monument of the departed, but never to be forgotten 
saviour of his country. 



KECORD OP THE BOSTON STAGE. 71 

N. B. — The theatre will be hung with black, and every tribute of 
respect due to the melancholy occasion properly attended to. 

The monody was the production of John Lathrop, 
Esq. Mrs. Barrett's figure, manner, attitude, and 
pathetic voice, were finely adapted to convey the senti- 
ments and feelings of its author. "We append this pro- 
duction : — 

" Hung be the heavens in black, with pallid gleam, 
Portentous moon, effuse thy specter' d beam! 
Earth! wrap'd in sable shrouds, in solemn state, 
Expressive, muse thy loss, and mourn thy fate — 
A nation's tears o'er worth divine are shed, 
For god-like, matchless Washington, is dead — 
Afflicted nature looks, but looks in vain, 
Among her sons to find his like again ; 
The drooping Muses to their grove retire, 
And breezes sigh thro' each neglected lyre, 
While holy Freedom views with sad dismay, 
Thy victory, death ! thy most triumphant day ! — 
Her saviour gone, ah! whither shall she fly? 
Where turn her steps, or rest her anxious eye ? 

" Columbia's genius to her tomb repairs, 
Deep — deep the gloom, her brow majestic wears I. 
Fix'd to the sacred spot the mourner stands, 
And views with frenzied glare her martial bands ; 
Eecalls that form, which long before them strode 
With soul and force, and motion like a God — 
And sees that sword, which, when a foe was nigh, 
Flam'd like Jove's lightning darting thro' the sky.. 

" See where yon hardy veteran weeps his friend; 
Well may the soldier o'er the hero bend, 
Cold is that heart, whose patriotic fire, 
Could coward hosts with dauntless rage inspire, 
Nerve the weak arm, a conqueror's sword to wield,. 
And bid Victoria thunder o'er the field — 
Ah ! he who oft our firm battalions led — 
To fame — to freedom — Washington is dead. 



RECORD OF TIIE BOSTON STAGE. 

" From realms of glory, sainted spirit deign, 
To guard and guide Columbia's grateful train, 
Still in the Senate, In- thy wisdom found, 
Still may thy virtues in our lives abound — 
Thou art not lost while pensive memory j 
To thy long Beryicee, her willing praise 
Each mighty deed a bright example shines, 
Exalts the mind and every sense reiines. 
Tutor'd bj thee, ingenuous youth Mpirei 
To place his name among yon starry fires, 
Follows the track thy feet with zeal pursu'd 
And heart devoted to the public good. 

" Behold the Chief ! — sublime he mounts on liigh- 
What light unusual spreads along the sky? 

From East to West the gates of heaven unfold: — 
Now blaze immortal thrones with gems and gold, 
Angels approach to pay him honors due- 
Impervious splendors hide him from our view 
Oh! radiant saint! our guardian God — adiei 



- i 

ix." ) 



The grief which prevailed throughout the com- 
munity at this irreparable loss, was detrimental to the- 
atrical performances, and though Mr. Barrett managed 
the theatre with industry and tact, the expenses ex- 
ceeded the receipts. lie had during a visit to New 
York become involved in debt, which he endeavored 
to pay by his earnings in Boston, and these with 
other causes, brought the season to an early close, on 
the 28th of April, when Mr. Barrett took a benefit, 
and Mrs. Cowley's " Bold Stroke for a Husband " 
was first introduced to a Boston audience. 

In the summer of 1800, Mr. C. E. "Whitlock engaged 
the theatre, and at once set out for England in search 
of attractions, but he was not very successful. He 
returned and commenced the campaign on the 27th of 
October, with " Speed the Plough " and " Rosina." 



EECORD OF THE BOSTON STAGE. 73 

His company comprised several old favorites, and the 
most noted new one, whose name has come down to us, 
was Mrs. Jones, who proved a valuable acquisition to 
the company. She was one of three daughters of a 
respectable physician in London, by the name of Gran- 
ger, who, dying while she was young, left her in the 
care of a mother and grandmother, Mrs. Booth of 
Drury Lane. His circumstances at his death not being 
flourishing, the grandmother took this daughter under 
her own care and introduced her, at an early age, as a 
singer at the theatre where she was herself engaged. 
Miss Granger was married to Mr. Jones a short time 
previous to her embarking for America. In ballad 
and pathetic style of music, she was unrivalled, and in 
comedy and farce, she was equally good. Mrs. Jones, 
after leaving Boston, performed at the South ; and in 
1806, maintained her four children by her exertions in 
New York, her husband having separated from her. 
She died in New York on the 11th of November, 1806, 
aged twenty-four, leaving four young orphans. In her 
private relations, Mrs. Jones is highly spoken of, and 
though the object of public admiration, " she bore her 
faculties so meekly, that the lowest underling of the 
theatre was more presuming than she." 

At this time the custom was imported from England 
of presenting " George Barnwell," once or twice during 
each season, and its moral effect is alluded to in the 
Boston Gazette of that^ day. It is related on good 
authority, that when Mr. Eoss performed the character 
of George Barnwell in England, in the year 1752, the 
son of an eminent merchant was so struck with certain 
resemblances to his own perilous situation, (arising 



74 RECORD OF TIIE BOSTON STACK. 

from the arts of a real Millwood,) that his agitation 
brought on a dangerous illness, in the course of which 
be confessed his error, was forgiven by his father, add 
was furnished with the means of repairing the pecuni- 
ary wrongs he had privately done his employer. Mr. 
Ross says, " Though I never knew his name, or saw 
him to my knowledge, I had for nine or ten years, at 
my benefit, a note sealed up with ten guineas and these 
words: 'A tribute of gratitude from one who 
highly obliged, and saved from ruin, by witnessing Mr. 
Boss's performanee of George Barnwell.*" The anec- 
dote must convince the most rigid moralists that the 
stage at times inculcates lessons of high morality, and 
the mirror which it holds up is not always devoid of 

effect 

Mr. Whitlock brought out this season, u Pizarro in 
Peru, or the Death of Polla." He put it on the stage 
in an admirable style, new scenery painted by Mr. 
Bromley, scenic artist from Drury Lane, new dre- 
and for the first time in Boston, the original music. 
It had a long and successful run. In the month of 
March the theatre was the scene of a political row, 
which caused considerable excitement. A comic opera 
called the " Lock and Key," was brought out in which 
Cheerbj, Mr. Story, gave a song commemorating the 
bravery of the English tars, as displayed in the engage- 
ment of the Aratheusa with a French frigate. " It did 
not," says a critic, " in reality contain any thing offen- 
sive to an American ear, unless it be derogatory to 
consider ourselves the descendants of a brave nation." 
The song was encored, and repeated with general 
applause and partial hisses, which by the lively jeal- 



RECORD OF THE BOSTON STAGE. 75 

ousy of party spirit, then dominant, was construed into 
mutual insult. The first night was only a first rehear- 
sal ; the second night more clamor occurred, and on the 
third night the heroes of the sock became passive spec- 
tators and the audience the principle actors, and pre- 
sented a medley entertainment in its finished state, so 
far as disorder can approximate to perfection. The 
attempt to stop the song, was ineffectual; for the 
friends of the theatre prevailed. The following appeared 
in the Boston Gazette, and contains personal allusions 
to the actors before the scenes : — 

SCENE, 

THE FEDERAL STREET THEATRE. 

The man of leather high his station took, 
Whence gods above the scenes below o'eiiook; 
The spotless lawyer, and his comrades sit 
Amidst the motley critics of the pit — 
While Galen bold a safe position chose 
To feel amid the storm secure repose. 
In front, in flank, and rear the softer sex 
The friend of freedom and France protects, 
Around their myrmidons, a patriot band, 
For noise and mischief ripe attentive stand — 
Soon as the odious verse assails the ear, 
Soon as the feats of British tars they hear — 
A sullen murmur thro' their ranks resounds, 
A goose-like hiss, the obnoxious passage drowns. 
With rage and grog inflam'd the patriots rise, 
And horrid oaths and curses rend the skies. 
But ah ! in vain ! the friends of France oppose, 
For federal fingers greet each patriot nose. 
Though slow to wrath, the sons of order move 
When roused — impetuous — firm — resistless prove, 
With honest fire their clubs and weapons wield, 
Their battered foes inglorious quit the field. 

In May the theatre closed with "Macbeth," — Mac- 



70 RECORD OF TIIE BOSTON STA< 

hetlt, Rutley ; ]><tit(jn<>, Mr. Whitlock ; Lady Macl 
Mrs. Whitlock; with the whole of the original airs and 
choruses of Matthew Lock, got up under the direction 
of Mr. Graupner. 

The season resulted in a loss of four thousand dol- 
lars to Mr. Whitlock. Thus far the theatre' had proved 
but a sorry speculation for manager.-; all had either 
become bankrupt, or left it poorer than they entered it. 
A brighter day, however, was coming, and the succeed- 
ing chapters will delineate a more pleasing picture of 
early theatricals in this city. All honor, however, is 
due to those who struggled manfully against the tide 
which opposed them, and through whose efforts the 
drama finally attained a firm position. 



CHAPTER V. 

Tragedy in real Life. — Powell and Harper's Management. — Mr. 
Cromwell. — Success of the Theatre. — Munroe and Francis. — 
Edition of Shakspeare. — Closing of the Haymarket. — Its destruc- 
tion. — Mrs. Dariey. — Mr. Dickson's Sir Anthony Absolute. — 
Mr. John Bernard. — A brief Sketch. — Death of Hamilton. — Fox. 
— Cooper's first appearance at the Boston Theatre. — " Cooper or 

. No Play." — Row at the Theatre. — The Benefit Season. —Mr. 
Bernard's return to England. — Xon arrival of the Vessel. — Master 
Loring. — Hon. Mrs. TwUtleton. — Mr. Caulfield. — S. P. Q. A.— 
The Columbian Museum, Sec. &c. 

Ix the summer of 1801 a tragedy in real life excited 
the attention of the citizens of Boston, and for a time 



RECORD OF THE BOSTON STAGE. 77 

entirely engrossed public attention. "We allude to the 
murder of Miss Fales, by Jason Fairbanks. The trial 
was the great topic of the day, and various opinions 
were entertained of the guilt of the accused, whom it 
will be remembered gave information of the murder of 
Miss Fales, stating that she took her own life. He 
was found guilty, and on the 10th of September, by a 
warrant from authority, was removed from the Boston 
jail to the line of the county of Norfolk, where he was 
received by the sheriff of Norfolk, attended by the Rox- 
bury troop of horse, and conveyed to the jail in Ded- 
ham, from whence he was conducted, under the escort 
of a detachment of one hundred of a volunteer guard 
of the inhabitants of Dedham, to the place of execution 
on the common, where he was hung between two and 
three o'clock. He did not confess the deed, though 
attempts were made by several clergymen to induce 
him to acknowledge his guilt, but maintained a stoical 
indifference. 

On the 30th of November, 1801, the Federal Street 
opened under Messrs. Powell & Harper, with a fair 
company. Mrs. Snelling Powell and Mrs. Whitlock 
were of the company, and Mr. Cromwell made his 
debut. 

Mr. Cromwell was an American by birth, and had 
appeared in New York. He went to England and 
played at Drury Lane. One of the journals made the 
rather equivocal remark, that "this Cromwell is no 
Pretender." Like actors of modern days, he procured 
the insertion of favorable puffs in the London papers, 
and upon these false representations he was engaged 



78 RECORD OF TIIE BOSTON STA< 

by the managers of the Boston Theatre, but they found 
that the article was not up to invoice value. 

The managers were enabled to pay their bills, but 
did not accumulate a fortune. The season closed in 
June, but the theatre was opened on the fourth of July. 
The Ilaymarket was opened during this and subsequent 
years for a few evenings by strolling companies, but it 
paid the proprietors so poorly, that it was offered for 
sale. Boston could not then support two theatres — 
and even now, two regular and legitimate houses of 
theatrical representation, find it any thing but easy work 
to fill their coffers. 

During the summer of 1802, Messrs. Munroe & 
Francis published a 12mo. edition of Shakspeare's 
Works, the first edition ever issued in this city. It was 
published in numbers, and sold at fifty cents. The 
notes were rewritten and condensed by Mr. Munroe 
from an English edition, and subsequently adopted by 
several publishers. The plays were set up in type, 
and an edition of about three thousand copies worked 
on a hand press. The publishers, we are happy to 
say, were repaid for their arduous labors, and the firm 
was only dissolved in 1853, by the death of David 
Francis, which occurred oh the 20th of March. He 
died respected by the residents of a city whose early 
literature he was instrumental in forming. 

The opening of Federal Street, on the 27th of 
October, 1802, by Snelling Powell, brings us to a period 
of theatrical prosperity previously unknown. For four 
years from this date, Mr. Snelling Powell was the sole 
manager, and by perseverance, tact, and talent, he was 



RECORD OF THE BOSTON STAGE. 79 

enabled at the close of each season to issue the follow- 
ing agreeable document : — 

C^* All persons having demands on the theatre, are requested to 
send their accounts to the manager for settlement on Saturday noon. 

Mr. Powell was thus the first successful manager of 
a theatre in Boston. He adopted a straightforward 
course, and honorably kept his engagements, and by 
offering to the public entertainments worthy of patron- 
age, " conjured back into the boxes," to borrow an 
expression of a critic of those days, " the long absent 
taste and beauty of Boston." Early in March, 1803, 
the Haymarket Theatre was sold at auction, under 
condition that the materials be removed within sixty 
days. The land was subsequently disposed of. This 
gave a clear field to the old theatre, and the lovers of 
the chaste and regular drama found in Mr. Powell 
one who only required encouragement to serve the pub- 
lic most faithfully. It would perhaps prove unin- 
teresting to follow in detail, season after season, the 
success of this theatre' during the four years it was 
solely under Mr. Powell's management, but we will 
allude to such events as may serve to illustrate the 
progress of the drama, or interest from association the 
elderly reader. The company of 1802 and 1803, 
included Messrs. Harper, Taylor, Barrett, Begnall, 
Kenny, Wilmot, Mr. and Mrs. Dickson, Mrs. Harper, 
Mrs.. Powell, and the charming Mrs. Darley, formerly 
Miss E. Westray, who first appeared at the Haymarket, 
and her husband. It was during this season that Mr. 
Dickson first astonished the critics, and delighted the 
audiences by giving proof of histrionic talent, which 






80 RECORD OF THE BOSTON STAGE. 

many were surprised to see evinced by one who, 
although a very clever actor and a general favorite, had 
been content to appear only in minor parts, eliciting 
applause merely for a truly comic and original style of 
acting. On the 31st of December, 1802, the play of 
the " Rivals " was revived, after a lapse of four y< 
and Mr. Dickson sustained Sir Anthony Absolute with 
such marked effect, that for years lie was the sole 
impersonator of this character, which, though often 
attempted, is rarely portrayed to the satisfaction of 
the critical. 

The season of 1803 and 1804 witnessed the re-ap- 
pearance of Mrs. Jones, after an absence of four jr< 
who again resumed her enviable position as a Boston 
favorite ; and Mr. Henry Whitlock, son of the cele- 
brated Mrs. Whitlock, then only sixteen years of age, 
made his first appearance as Young Norvcd. The 
critics pronounced him " a rough diamond who wants 
the assistance of the lapidary." Mr. John Bernard, 
subsequently manager of the theatre, also made his ap- 
pearance this season, and proved a very valuable acces- 
sion. His wife, Mrs. Bernard appeared, but did not 
possess any great claims to distinction. Mr. Bernard 
was a discriminating actor in the presentment of " many 
colored life," excelling more particularly in the comic. 
Many comedians are too much in the habit of dashing 
the pound brush, and all they aim to throw upon the 
canvas is a dazzling confusion of the primary colors, 
without extermixture, gradation, or lineament. It was 
not so with the designs of Mr. Bernard ; his, if not the 
pencil of Titian^ was at least that of Hogarth. His 
father was lieutenant in the English navy, and Ber- 



■ KECOED OF THE BOSTON STAGE. 81 

nard, who was born at Portsmouth, England, in 1756, 
first received that applause which prompted him to 
adopt the stage as a profession, when performing 
" Hamlet " at an exhibition given by the pupils of an 
academy. He performed in several theatres in Eng- 
land, and was a popular actor at the Theatre Royal, 
Covent Garden, London, where he performed light 
comedy, fops, etc., and after the decease of the celebrated 
Edwin, he succeeded him in many of his principal parts. 
In the summer of 1797, he visited America under the 
auspices of Mr. Wignell, making his bow before an 
American audience at the Greenwich Street Theatre,. 
New York. 

During the summer of 1804, the theatre remained 
closed, excepting the usual performances given on elec- 
tion day, and on the 4th of July. On the 26th of 
July, in this year, the citizens of Boston paid a tribute 
of respect to Alexander Hamilton, whose death was 
consequent on the duel between that great and good, 
man, and Aaron Burr. The details of this duel, forced 
upon Hamilton, are familiar to all- His death was 
regarded as a public affliction, and in all the principal, 
cities obsequies in his honor were observed. In this 
city, at an early hour, the vessels in the harbor dis- 
played their colors at half mast, the public offices were 
closed, and outward demonstration marked the sincerity 
of inward grief. At noon a very large and respectable 
procession, under escort of the Independent Corps of 
Cadets, moved from the State House to the Chapel,, 
where the Hon. Harrison Gray Otis delivered an 
eulogy on the deceased, in which he gave a biographical 
6 



82 RECORD OF THE BOSTON STAGE. 

sketch of Lis character, and paid a just tribute to his 
worth. 

The season of 1804 and 180-3 commenced in Octo- 
ber. Mr. Fox from the southern theatres was the only- 
new face, but the receipts of the first week were greater 
than were ever before received for the same period of 
time. Mr. Fox was originally an engraver in Phila- 
delphia, lie had a great impediment in his speech, 
and stuttered so badly, that when he first made applica- 
tion for an engagement he was laughed at. They gave 
him a trial, however, and on the stage there was not 
the least hesitation or peculiarity. He was a versatile, 
pleasant actor, good in tragedy, comedy, or comic 
opera. 

In the month of March, 1805, Mr. Cooper, then 
recently returned from Europe, arrived in Poston. 
The benefit season had commenced, and Mr. Powell 
was bound in the articles of agreement with his stock 
company, not to employ any extraneous aid, and there- 
fore no opening was offered. His friends remonstrated, 
but the stock stated that their expenses would be so 
materially increased, that their benefits, which in these 
days were harvests indeed, would be seriously impaired, 
and announced their determination to hold Mr. Powell to 
his contract. The manager desired to engage Mr. 
Cooper, in accordance with, the wishes of the public, 
but both his pecuniary interest and his honor were 
.against the arrangement. Thus placed between two 
fires, it was a difficult question to decide what course to 
pursue ; for within the theatre there was a cry of " We 
do n't want him," and outside, " We must have him." 



RECORD OF THE BOSTON STAGE. 83 

Thus the matter stood, and the curtain went up. Mr. 
Cooper occupied a prominent position in the dress 
circle apparently determined to appear before the 
public, if not allowed on the stage. The play passed 
off, and, as usual, the benefit of the next night was 
announced. At this, Mr. Cooper's friends, scattered in 
different parts of the house, shouted out, " Cooper or 
no play ; " and " Cooper or no play " was reiterated 
from all parts of the house. Mr. Dickson, who was on 
the stage at the time, singled out one of Mr. Cooper's 
friends, who was foremost in creating the disturbance, 

and, pointing to him, said : " Very well, Mr. , no 

play then." The following day rumors were current 
that the house would be packed by Cooper's friends, who 
determined to carry out their threat of " no play," and 
taking the advice of several distinguished friends of 
the theatre, who were anxious to avoid a riot at any sac- 
rifice, the house was closed, and the money refunded to 
purchasers of tickets. Mr. Cooper, somewhat chagrined, 
probably, at the serious aspect of affairs, and the un- 
justifiable attempt to force the management to an en- 
gagement, which certainly would prove unprofitable to 
the actors, intimated a desire to consult with the parties. 
The place of meeting was at Julian's ; and Mr. Powell, 
Mr. Dickson, and Mr. Cooper there sat down, and 
over a chop, perhaps a glass of port, which, "full of 
bounty, prompts the open hand," made a satisfactory 
arrangement. Mr. Cooper was very liberal in his terms. 
Taking the list of benefits to come off, he said, " There, 
I will play gratuitously for this one and that one, for 
they are sure of a full house without me, and how 
much will these actors probably receive, Mr. Dickson ?" 



84 RECORD OF THE BO 

"A hundred dollars ia about tl je. w 

" AYcll, then, replied Cooper, "I will share with 

them, after they have received their hundred dollars." 
All parties being satisfied, Mr. Cooper made his first 

appearance at the Boston Theatre on the 11th of 
March, as Hamlet ; Ophelia, Mrs. Jones; (Juan, Mrs. 
Powell. The theatre was crowded, and it was the 
general opinion that th<- histrionic powers of "our 
Roscius," as he was termed, America having been the 
scene of his earliest Buccess, were much improved and 
ripened by his transatlantic excursion. The benefits 
this season were very large, and the following state- 
ment of receipts will sufficiently evince the pr: 
worthy manner in which the Bostonians then supported 
those who contributed to their amusement and instruc- 
tion: Snelling Powell, $1,100; Bernard, $1,060; 
Fox, $900; Wilson, 000; Chalmer- Dickson 

1,050 ; Jones, $850 ; Bignall. $700; Sauberes, $750; 
Kenny, S800 ; Cooper, 1,050; Barnes, $700; Mrs. 
Powell, $1,163; Mrs. Dickson, $850; Mrs. Bernard, 
$750 ; Mrs. Jones, $950 ; Miss Bates, $700. The 
above were eighteen successive benefits. The theatre 
was calculated to contain, by admeasurement, eleven 
hundred dollars, though on some occasions the receipts 
had been as high $1,400. 

Cooper's visit, however, to England had not resulted 
in that triumph which was anticipated. At the time, 
(1803,) Kemble had retired from Drury Lane Theatre, 
on account of declining health, and was on a tour to 
the continent of Europe, and Cooper was invited to fill 
his place. His performances were received with much 
applause, but the people there having formed their 



EECOKD OF THE BOSTON STAGE. 85 

taste on the model of Cooke and Kemble, or from his 
real inferiority to these gentlemen, did not consider 
him equal to their favorites. During his engagement 
in Boston, he performed Douglass, Richard III., Octa- 
vian in the •'•'Mountaineers," Pierre, Zanga in the 
" Revenge," Osmond, in the " Castle Spectre," (a part 
in which Mr. Hodgkinson had been very successful,) 
Othello and RoUa for his benefit. The Boston critics 
were much pleased with his u Othello," " Hamlet," and ■ 
" Zanga," and he was then esteemed second to no one 
who had trod the Boston boards, though his faults were 
freely discussed, and the correctness of his readings 
often called in question. 

The last season of the sole management of Mr. 
Powell commenced in October, 1805, with " Speed the 
Plough," and the expenses of the theatre greatly 
exceeded any previous season. On the 15th of Novem- 
ber the u Honeymoon " was performed, for the first 
time in Boston: — Duke Aranza, Cooper; Juliana, 
Mrs. Powell ; — and during this season Cooper brought 
out " Coriolanus " for his benefit. The orphans of 
Hodgkinson received a benefit at the theatre, which 
was but one of the many kind acts that marked Mr. 
Powell's managerial career. 

In the summer of 1806, Mr. Bernard visited Eng- 
land, for the purpose of obtaining accessions to the Bos- 
ton Theatre. On his arrival out, he found the London 
managers on the alert to embellish their respective 
theatres with all the genius and attraction of the pro- 
fession ; and so anxious were they, that they did not 
confine their researches to the boards of England, 
Scotland, and Ireland, but offers were made to several 



I 



8G RECORD OF THE BOSTON STA(.I.. 

English actors, then in America. Mr. Bernard was 
not very successful in beating up recruit.-. He, how- 
ever, enlisted Mr. Coalfield from Drury Lane, Mrs. 
Stanley, (Hon. lira. Twistleton,) from Covenl Garden, 
Signor Cipriani, ballet master, from Saddler's Well*, 
and a singer by the name of Vining, with whom he 
sail for Boston in the schooner Neutrality, Capt. Sprague, 
of Duxbury. The theatre was announced to open on 
the 13th of October, under the joint management of 
Powell, Bernard, and Dickson, and as intelligence had 
been received of Mr. Bernard's departure from Bristol, 
he was anxiously expected to give cvhit, with the aid of 
the new faces, to the opening of the house. But his part- 
ners were doomed to disappointment, for the schooner 
Neutrality did not come to port, and on the 13th of Octo- 
ber the season commenced with " Speed the Plough." 
Mr. and Mrs. Poe, (parents of Edgar A. Poe, the poet,) 
from the South, made their appearance, and Master 
Loring made his debut as Richard to a cash receipt of 
$855.87 1-2. Nearly two weeks was passed by the 
friends of Mr. Bernard, in fear lest the schooner might 
have been swamped or foundered ; but, on the 25th of 
October, the Neutrality, after a passage of fifty-three 
days, arrived, and on the the 27th, Mr. Bernard ap- 
peared as Nipperkin, when he was most warmly 
welcomed. Mrs. Stanley was a lady-like actress, and 
gave great satisfaction. She was Hon. Mrs. Twistle- 
ton. Mr. Caulfield appeared as Sir Edward Morti- 
mer, and was pronounced a classical performer. 

Caulfield was quite a wit at times. Over each of 
the stage doors at the theatre were placed the initials, 
S. P. Q. A. (Senatus Populus, &c). An actor, look- 



RECORD OF THE BOSTON STAGE. 87 

ing up one day, endeavored to arrive at some clue to 
their meaning, but being unable to do so, he turned to 
Caulfield, and asked for his version. " Oh," said 
Caulfield, glancing at what he had perhaps never 
noticed before, " do n't you know what they stand for ? " 
" No, I do not," rejoined the applicant. " Well," said 
Caulfield, " S. P. Q. A. means that Snelling Powell 
Quizzes All." 

We have alluded in this record to the Columbian 
Museum, which was commenced in Boston by the exhi- 
bition of a few specimens of waxwork, at the American 
Coffee House, opposite the Bunch-of- Grapes, in State 
street. The proprietor was Mr. Daniel Bowen, whose 
collection received very handsome notice in the papers 
of June, 1791. It was soon removed to the hall over 
the new school-house, near the Rev. Mr. West's meet- 
ing. Additions of natural and artificial curiosities? 
paintings, &c, were constantly made to the collection 
till 1795, when it assumed the name of Columbian 
Museum, and it was established at the head of the mall, 
(on the corner of Broomfield's Lane,) in the longest, 
and perhaps the most elegant hall in the United States. 
This establishment rose in value and in public estima- 
tion, and became a fashionable resort, till January 15, 
1803, when it was destroyed by fire. The liberality of 
the public, and the aid of private friends, enabled Mr. 
Bowen to commence another Museum, at the corner of 
Milk and Oliver streets, in the succeeding May. In 
1806, Mr. Bowen, in connection with Mr. William M.. 
S. Doyle, erected a costly brick edifice, five stories 
liigh, on the lot north of the Chapel burial-ground 
and removed the collection, which had now become' 



88 MfiCOBD OF THE BOSTON STA G 

splendid, lo that place, which was opened for company 
on Thanksgiving evening, Nov. 27th. On the 15th of 
January, l<s<»7, the Museum again took fire, from the 
explosion of a preparation which Mr. Martin used in 

his exhibition of the Phantasmagoria, then occupying 
the upper hall, and all the valuable curiosities were 
destroyed. After the lire had subsided, a very melan- 
choly catastrophe occurred. A great pari of the tooth 
wall of the Museum fell into the Chapel burying- 
ground, killing six young men and wounding Beveral 
others. The proprietors of the Museum, however, 
were not wholly disheartened. With some encour; 
meat from the public, they rebuilt the house to the 
height of two stories, and opened it on the "id of June, 
1807. Mr. Bowen some time after removed from i;<>-- 
ton, and Mr. Doyle continued the sole manager until 
the collection was sold to the proprietors of the New 
England Museum, (January 1, l«2o). 



CHAPTER VI. 

Air. James Fcnnell. — Mr. C. S. Powell. — Benefit for the Lunatic 
Asylum. — Readings from Shakspeare. — Mr. Webster. — Mr. 
Twaits. — Appearance of the celebrated Mrs. Warren (Mi.-s 
Bruntou). — Biographical Sketch. — Mr. Cooper. — Harwood. — A 
Joint Engagement. — Criticisms of Robert Treat Paine. — Remarks 
-upon Mr. Cooper and Mr. Fennell's Acting. — A touch at pseudo- 
critics. — The Embargo, etc., etc. 

The season of 1806-7, is notable on account of 
the appearance of Mr. Fennell, who, when he arrived 



RECORD OF THE BOSTON STAGE. 89 

in Boston, had just concluded an engagement of thirteen 
nights in Philadelphia, where the receipts had been 
$13,000, then pronounced to be "the greatest instance 
of patronage ever given to the American Drama." 
Fennell's engagement was not a successful one. His 
performance of Lear was the only attractive part 
which the Bostonians honored. 

Mr. C. S. Powell, the former manager of the Hay- 
market, appeared this season. For many years he 
was connected with theatricals in Halifax, under the 
patronage of the Duke of Kent. Mr. Powell died in 
Halifax in 1810. 

A night was devoted by the trustees, to a benefit to 
assist the fund then raising in behalf of a lunatic hos- 
pital. The benefit was an entire failure ; the project 
at that time being viewed with an unfavorable eye by 
the public. The trustees of the old theatre always 
reserved one night,, the receipts of which were given 
to the poor of the town. 

After the close of the season, Fennell gave readings 
from Shakspeare, with remarks, at the Exchange Coffee 
House — the first Shaksperian readings in this city, 
since so popular, of which we find record. 

The season of 1807-8 introduced to the public 
Mr. Webster, a singer of considerable repute, who, 
unfortunately for his fame and his pocket, subsequently 
became a party to some disgraceful proceedings, and 
was obliged to take French leave of Boston. Mr. 
Twaits, who married Mrs. Villiers, formerly Miss 
Eliza Westray, appeared. He was born on the 25th 
of April, 1781, and was brought to this country by 
Mr. Wood, who found him in Birmingham, England. 



/ 



90 RECORD OF TIIE BOSTON STAGE. 

Dunlnp says tli tit u neither his style of playing, nor hit 

face or person was like any other individual then on 
or oif the stage. Short and thin, yet appearing broad, 
muscular yet meagre, a large head, with stiff, stubborn 
carroty hair, long colorless face, prominenl hooked nose, 
projecting large hazel eyes, thin lips, and large mouth, 
which could be twisted into a variety of expression, 
and which combining with his other features, eminently 
served tin- purpose of the comic muse." His voice was 
powerful, and his queer humor, made him a great favor- 
ite with convivialists, as with lovers of comedy. Mr. 
Twaits was extremely popular as a low comedian, but 
like many others in that line, fancied that tragedy was 
his forte. He attempted Lear and Richard ///.. and 

performed them beyond the expectation of the audi' 
It ha- iid. and with much truth, that actors are 

the poorest judges of their own talent. The celebra- 
ted Liston acted Octavian, and similar characters at 
Newcastle before he appeared in London, where he 
became the most popular low comedy-man of the day. 
Mr. Finn was also impressed that tragedy was his line; 
but of this more in the appropriate place. Mr. Twaits 
was manager of the Richmond theatre at the time of the 
great fire. 

On the 20th of November, 1807, Mrs. Warren, cele- 
brated in theatrical annals as Miss Brunton, made her 
first appearance in this city as Behidera. Mrs. War- 
ren's fame and superior talent were not generally 
known here, and there being no actor of eminence to 
support her, the first night w T as but indifferent, under 
the circumstances. The frequenters of the theatre soon 
sounded her praises, and her acting became known and 



RECORD OF THE BOSTON STAGE. 91 

duly appreciated by the public. On Monday, Nov. 
30 th, she performed Elvira in " Pizarro " to a large 
and fashionable audience. Mr. Fennell was engaged 
for her next two nights, and appeared as Horatio to her 
Calista in the " Fair Penitent, " and as Borneo to Mrs. 
"Warren's Juliet, (her great London part,) and on both 
of these occasions the theatre was crowded. She 
played seven nights, and with her benefit received one 
thousand six hundred dollars. Miss Brunton was the 
daughter of John Brunton, a manager and actor, who 
maintained a respectable rank in England. It was not 
until she had attained her fifteenth year that she gave 
any evidence of the possession of histrionic genius, her 
earlier days having been passed in the repose of retired 
life, far from the scenes of her father's labors ; her 
mother, contenting herself with qualifying her daugh- 
ter to be like herself, a good wife and mother. Mrs. 
Brunton was the preceptress of her own children, and 
the father was more than astonished, when one day, 
by desire of her mother, the daughter recited some 
select passages in his presence. Though not gifted 
with that dignity of stature suited to the embodiment 
of tragic parts, the father, who had battled hard to 
obtain the means of subsistence for his family, saw that 
a mine of wealth had long been concealed in his own 
family, under modesty and reserve, and at once deter- 
mined to encourage the talent which had lain dormant, 
and bring his daughter before the public. Without 
any stage practice, without the advantage of studying 
in other actresses what to do or what to avoid, having 
very rarely seen the interior of the theatre, she was 
announced, while she yet fell short by two months of 



02 RECORD OF Tin: BOSTON STAOB. 

Bixteen year- of age, to appear at her father'- benefit 
in Bath as Euphrasia. Mr. Meyler wrote a prologue 

for the occasion, and some kind friends were evil dis- 
posed enough to predict the failure of the young lady, 
stating that her youth and smaUness of stature were 
insurmountable obstacles to her personating the Gre- 
cian daughter. The night arrived. More hearts than 
one trembled for the result, and the anxiety of the 
parent exceeded the fear of the debutante. Though 
the trepidation inseparable from Buch an effort dimin- 
ished her powers at first, the sweetness of her voice 
struck every ear like a charm; the applause that fol- 
lowed Invigorated her spirits BO far, that in the recipro- 
cation of a speech or two more, her fine, clear articu- 
lation .-truck the audience with surprise, and when move 
red bjfc their loud approbation, she came to the 
speech : — 

'• Mclanthon, how I loved, the gods who saw 
Each secret image that my fancy formed, etc." 

she seemed to pour forth her whole heart and soul in 
the words, and emitted such a blaze as filled the house 
with rapture and astonishment Brunton on the same 
evening played the aged father, and the meeting on the 
boards of father and child was the signal for applause, 
only equalled in modern times by the parallel cases 
of Kemble and his daughter, and Cooper and his 
daughter. Miss Brunton rose at once in public esti- 
mation, and augmented her reputation by performing 
Horatia in the " Roman Father, " and Palmyra in 
"Mahomet," and in less than a month the fame of this 
prodigy reached every town and city of Great Britain 
and Ireland. The London managers were at once on 



RECORD OF THE BOSTON STAGE. 93 

the qui vive for such a star; and on the 17th of Oct., 
1785, Miss Brunt on made her first appearance at Co- 
vent Garden Theatre in the character of Horatia. The 
London critics stamped the coin as pure metal, and her 
success -was immense. Whenever her name was an- 
nounced, a crowded house was in attendance, and great 
was the regret of all, when it was announced that she 
was about to marry Mr. Bobert Merry, a gentleman of 
literary attainments, and would retire from the stage. 
This step was taken, not in accordance with her own 
desires, for she was an actress con amore, but to pro- 
pitiate the favor of Mr. Merry's family, who affected 
to be wounded at his marrying an actress. At the con- 
clusion of her engagement in 1792, she was married to 
Mr. Merry, and left for Paris, where, with Mr. Fennell, 
it was their intention ,to give English readings, as M. 
Le Texier had been very successful in giving French 
readings in London. The convulsions in France pre- 
vented the execution of this plan; and after a three 
months' visit they returned to England, and lived in 
retirement until 1796, when Merry, who was a ion 
vivant, found that his reduced fortunes required imme- 
diate aid ; and Mrs. Merry most willingly accepted an 
engagement with Wignell for Philadelphia, and sailed 
for New York, which they reached, in twenty-one days' 
passage, on the 19th of October, 1796. In the same 
vessel, Thomas A. Cooper and Mr. "William "Warren 
came passengers. Mrs. Merry made her first appear- 
ance in America in Philadelphia, on the 5th of Decem- 
ber, 1796, as Juliet; Moreton being her Romeo. Her 
talent was appreciated in this country, and in the large 
cities she became the favorite of the day. Mr. Merry 



94 RECORD OF TIIE BOSTON STAGE. 

died at Baltimore in 1798. Mrs. Merry remained a 
widow till 1803, when she married Mr. Wigncll, who 
died in seven weeks after their marriage. On the 15th 
of August, 180G, she married Mr. William Warren, 
her fellow passenger on her outward passage, and for 
near two years they lived together in ease and felicity. 
Mr. "Warren being obliged to attend his company to 
their customary summer stations, prepared for his de- 
parture, and at her earnest solicitation, though she was 
daily expecting her accouchement, took his wife with 
him. They reached Alexandria, and she was there 
taken in travail ; and though appearances and her lusty 
health promised a safe deliverance, she was seized with 
epileptic fits and died. Dunlap in his history, in record- 
ing her death, says: " The year 1808 was rendered re- 
markable in theatrical history, wherever the English 
language is spoken, by the death of Mrs. Anne Warren, 
in the thirty-eighth year of her age, and in the full pos- 
session of all those eminent qualifications which ren- 
dered her, as a tragedian, only second to Mrs. Siddons." 

On the 25th of January, 1808, Mr. Cooper appeared 
as Richard III., and followed in Hamlet, etc. Har- 
wood appeared each night in the afterpiece. This was 
the first season that Cooper may be said to have failed ; 
and notwithstanding he had the aid of Harwood, who 
was an excellent comedian, he did not attract. The 
result was that an engagement was made with Fennell ; 
and they acted Jajjier and Pierre, Othello and Iago, 
Horatio and Lothario in the " Fair Penitent." 

This joint engagement was one of the most exciting 
on record, and created the greatest enthusiasm not only 
in this city, but throughout the country. Every one 



RECORD OF THE BOSTON STAGE. 95 

was anxious to hear the result of their success. The 

tragedy of " Venice Preserved " was brought out ; Jaffier, 

Fennell ; Pierre, Cooper ; Belvidera, Mrs. Stanley. 

" Venice Preserved " was written by Thomas Otway, 

who was born in 1 65 1 . It was first acted in 1 68 2 . Few, 

perhaps, while witnessing the performance of this play, — 

moved to sympathy by the sufferings of Belvidera, or 

touched with pity by the sensitive and affectionate nature 

of Jaffier, — reflect upon the fate of its author, who died 

in 1685, it being stated, that the immediate cause of 

his death was hastily swallowing, after a long fast, a 

piece of bread which charity had supplied : — 

" glorious trade ! for wit's a trade, 
Where men are ruined more than made ! 
Let crazy Lee, neglected Gay, 
The shabby Otway, Dryden gray, 
Those tuneful servants of the Nine, 
(Not that I blend their names with mine,) 
Kepeat their lives, their works, their fame, 
And teach the world some useful shame." 

Robert Treat Paine, then the theatrical critic of Bos- 
ton, thus alludes to this engagement. In an article 
upon " Venice Preserved," he says : — 

" Messrs. Cooper and Fennell, were the rival candidates for the 
wreath of Thespian victory; and the combined effect of their talents 
was very powerfully assisted by the Belvidera of Mrs. Stanley. In 
this, as in all contentions of a similar nature, the spirit of party was 
on the alert; a divided sentiment prevailed, which was wholly repug- 
nant to impartiality of judgment. * * * In the natural gifts and 
requisites of an actor, Mr. Cooper has never had a competitor on the 
American stage, and in good sooth, it must be said, that ' speech 
famed' Fennell has gathered much lore at the feet of Cratippus. 
Mr. Fennell, who prides himself on his scholastic ' vis et venustas et 
ordo verborum,' acquired on this occasion no distinction beyond his 
antagonist in the severer graces of eloquence ; although, in some 



9G UIX'ORD OF TIIE BOSTON STAGE. 

brilliant momenta of personation, ho went any former i 

of hi> own. AVe feel a reluctance to speak of Mr. i 
in contrast to Mr. FennelTs Jqffier firom this very sufficii 
that, in this disposition of the parts, nati r in- 

hibition against the one, and has given her b mission to 

the other. Every actor has peculiar habil 

and expression ; in all these, (''"'per is moulded and fashioned into 
Pierrt ; and beyond these, which are great and striking endowmi 

eminently happy in transfusing the soul of his author into the 
character of his action. We do not believe this bold, ingenuous, 
generous, affectionate rebel, wasevear personated with more propriety, 
fire, or discrimination, on the boards of London. In the .scene with 
conspirators, after the discovery of Renault's lecherous breach of 
trust, it may be truly said, he 

' Lurched ull swords of the garlands.' " 

The same critic, alluding to Fennell's and Cooper's 
impersonation of Itiyo, says: — 

"In the part of Tagoowc unequivocal preference went along with 
Mr. Cooper, per totem agmen. In correctness, or force of reading, 
we scarcely know to whom the balance would incline. But one or 
two diversities of emphasis occurred, and none of interpretation. 
The differences were immaterial, and only such as the incidental 
lapses of performance might occasion. For the distinctions were all 
of manner in the personation of character, in its varieties of address 
to the other persons of the drama, with whom it was necessarily in- 
termingled. Here, indeed, the merit of the representation belongs 
most eminently to Mr. Cooper. In the conduct of the scenes his 
subtle honesty to 00idl'>, his imposing assurance to Rodtrigo, and his 
deadly malignity in soliloquy, were more deeply imbued with discrim- 
ation, ' form and pressure.' The colors were applied with a, bolder 
pencil, and the lines were traced with a stronger character. Nature 
has denied to ^Ir. Fennell the use of such powerful means, as Mr. 
Cooper can employ prodigally, without exhausting them. In the 
economy of the stage art and situation, Mr. Cooper was wonderfnlly 
superior. Yet, if we drop the curtain, and consider the exhibition as 
a mere didactic example of recitation, Mr. Fennell does not halt 
behind his antagonist." 

In the course of our reading, we have never met 



RECORD OF THE BOSTON STAGE. 97 

with criticisms upon theatricals more in accordance 
with good taste than those from the pen of Mr. Paine. 
He wrote according to his honest convictions, and we 
learn, from private sources of information, that he 
knew not " a Tyrian from a Trojan," when in the exer- 
cise of this duty. He possessed a great love for the 
drama, could apply the rod with scorching effect, or 
bestow the meed of praise when due, without disgust- 
ing the recipient by a lavish profusion of unmerited 
eulogium. 

The following passage may be read with profit even 
in these enlightened days. It hits off a class, who, 
lacking critical acumen, are ever ready to ascribe 
personal motives or private pique to that person who 
independently expresses an unbiased opinion, which may 
not accord with their own : — 

" Mr. Cooper could not swell his fine melodious voice to the ' top 
of its compass ' without -a responsive thunder from the house ; nor 
could Mr. Fennell extend his ' many a rood of limb ' in two gigantic 
strides from one stage door to the other, but the most learned ' mil- 
lion' beat their palms with ecstasy and exclaimed: ' What an 
admirable Reader.' We have not indulged this vein of sarcasm to 
ridicule the exertion of eminent talents, which has so justly ' earned 
its chronicle,' but to expose to merited contempt that fashionable 
affection, that most excellent foppery of taste, which has of late 
usurped the balance and the rod of criticism among our full grown 
babes of learning, who have suddenly become commentators in 
playing, by going to school at thirty to learn their mother tongue,, 
and have formed an intimate acquaintance with authors, by spelling 
their names on labels at the backs of their volumes ! Without know- 
ing the distinction in terms between pronunciation, emphasis, and 
reflection, yet with the aid of a little effrontery in a side box, and a 
well-committed rosary of words, which they use in succession with 
out choice or connection, they acquire a frothy reputation for classi- 
cal wisdom, which at once gives tone and circulation to theh opinions, 
throughout the wide range of the shallow profundity of polite life!. 
7 



98 RECORD OF THE BOSTON STAGE. 

What a facility of literary education] Why, it wore a device worth 

the experiment, if a patent might he obtained fur it; the market 
women in the public streets of Athens repeated lines from Homer, 

while they sold apples and filberts; thru wherefore should not the 
disciple Of a tailor and a lYi/.eur make as good a commentator of a 

beau, as the perusal of Ifalone, Johnson, or Walker? The pp 
too, would prevent a great many fruitless headachce, would keep 
down the price of calfskin, and would save the expense and trouble 
of learning to read. What a crop of connoisseurs should we have; 

they would grow Up, like the dragon's teeth, and destroy themselves 
for the amusement of their wits! This, then, will he the very mil- 
lennium of letters, when taste shall be reduced under the dominion of 
fashion, and 

1 The fop, the flirt, the pedant, and the dunce 
Start up, (God bless us !) critics all at once.' " 

Owing to the embargo, this was one of the most un- 
productive seasons the theatre ever experienced, but 
the actors never left on a Saturday without receiving 
their full due. 

"We have alluded to Mr. James Fennell. He came 
over to this country during the year 1792. His 
reputation as an actor was not fully known on this side 
of the Atlantic ; as a rattle-brain spendthrift, he was 
very much better known. In the early part of his 
life, Fennell studied the law, but he soon spurned the 
intricacy of the path, and under the name of Cambray, 
offered "himself to the managers of the Edinburgh 
Theatre, and in 1787 made his first appearance as 
Othello. Until the day of his death, this was his 
favorite character. Under the assumed name of Cam- 
bray, he played with some success in the various 
provincial cities. The increasing fame of Mr. Fennell 
induced the managers of the Edinburgh Theatre to 
wish his return to their stage, where he proceeded and 
played there some time with approbation, till one even- 



EECOED OF THE BOSTON STAGE. 99 

ing, being announced to perform the character of 
Jaffier, and the gentleman who had formerly repre- 
sented it (Mr, Wood) tv as fixed for Pierre; but enraged 
at the exchange, though the characters have ever been 
deemed equally good, Mr. Wood complained of the 
injustice of the manager to his friends. An apology 
was demanded from the manager, and a law case 
ensued. Mr. Fennell quitted the stage in that city 
with indignation, and played a short time at York, and 
in 1789, appeared at Covent Garden, London, but with- 
out the expected success. He afterwards engaged in a 
periodical publication, the Theatrical Guardian, and pro- 
duced a comedy, entitled " Lindel and Clara, or a Trip 
to Gibraltar," which has been frequently performed, 
and was printed in 1791. He visited Paris, where he 
lived like " my lord Anglais," and supported a hotel 
in great style, at the expense of all who trusted to his 
specious manner and fine appearance. Fennell was a 
remarkably handsome figure, above six feet in height ; 
his features, not handsome, were expressive, and over 
which he had a wonderful command. Thomas A. 
Cooper, the tragedian, used to say, when perceiving 
Fennell's approach, " Here come two yards of a very 
proper man." In Philadelphia his style of living was 
extravagant. He was the idol for the time of the 
town, the companion of all the dissipated limbs of 
aristocracy, who have caused the ruin of more actors 
by their flattery and friendship (?) than they ever con- 
tributed dollars to the treasury of all the theatres in 
the United States. He performed in all the theatres in 
this country, and possessing great ingenuity, erected 
salt works- on a new model of his own, which failed 



100 RECORD OF THE BOSTON STAGE. 

liim. In the year 1800, he was oppressed by poverty 
and debt, and in 1802 he was imprisoned for debt, etc. 
At last he became so reduced and besotted that a Mrs. 
Brown, in Philadelphia! with whom he resided, was 
under the necessity of turning him out of the house. 
For several days nothing was heard of him. One night, 
after she had retired to rest, she awoke by a noise in 
the street; raising the window to ascertain the cause, 
she was answered by Fennell begging admission: 

" You cannot come in here, Mr. Fennell, indeed you 
cannot." 

"I am a wanderer, madam, an outcast, homeless, 
pennyless." 

" I cannot help you, Mr. Fennell ; you know how 
you behaved before." 

* I remember nothing, Mrs. Brown, but that I am 
wretched, sick, and helpless." 

"All this I admit, Mr. Fennell, but why not go 
somewhere else?" 

" I have no friend but you ; then do — 

' Pity the sorrows of a poor old man 
"Whose trembling limbs have borne him to your door, 
"Whose days are dwindled to the shortest span, 
Oh! give relief and heaven will bless your store.' " 

This appeal induced the old woman to throw out the 
latch string. 

Mr. Fennell, when the decay of fortune and conse- 
quent shyness of professed friends had reduced him to a 
summer suit in the midst of winter, was presented by 
Mr. Leigh Waring with a surtout. The tragedian 
instantly produced the following neat effervescence of 
genius and gratitude : — 



RECORD OF THE BOSTON STAGE. 101 

" Dear Sir, your surtout 

Is a present to suit, 
While fortune to me is so sparing, 

It's been worn it is true 

But your kindness makes new 
What can ne'er lose its value from Waring." 

About the year 1804, Mr. Fennell retired for a time 
from the stage, and established salt works on an original 
plan, near New London, Connecticut, which eventually 
ruined him. Mr. Fennell was a gentleman of fine 
classical attainments, and at one time kept an Academy 
at the Barrell House, Charlestown. Mr. Fennell 
wrote a work entitled " An Apology for my Life." 



CHAPTER VII. 

John Howard Payne. — Mr. and Mrs. Darley. — Mr. and Mrs. 
Claude. — William Charles White. — First Production of Forty 
Thieves. — Mr. and Mrs. Duff. — Mr. and Mrs. Samuel Drake. — 
Anecdote of Morse. — George Frederick Cook's First Appearance 
in Boston. — A Biographical Sketch. — His Last Appearance on 
any Stage at Providence, etc., etc. 

On the 3d of April, 1809, John Howard Payne, 
then only seventeen years of age, made his first appear- 
ance at the Boston Theatre in the part of Young Nor- 
val, and was justly considered a histrionic wonder. 
Though not a finished artist he possessed a vivid genius, 
and his readings united classical correctness to truth of 
feeling. During this engagement he appeared as Romeo, 



102 RECORD OP THE BOSTON STAGE. 

Selim, Tancrede, Hamlet, etc., in all of which he was 
not only considered excellent, but the term included 
excellence as an actor, not as a mere boy. His first 
appearance attracted an audience of $745.62, and at his 
benefit when he played Hamlet, there was $987.37 in. 
He received for six nights $800. 

Blaster Fayne was born in New York, on the 9th of 
June, 1792, and his parents removed to this city when 
he was quite young. It was here that he acquired a 
taste for theatrical representation, and early in life at 
private theatricals was the star par eminence. "When 
thirteen years of age, he was sent to New York and 
placed in a counting-house; but the dry details of busi- 
ness were unsuitcd to his temperament, which soon 
found an appropriate sphere of action in publishing a 
weekly paper, called the Thespian Mirror. It was a 
respectable, though crude attempt of the future author 
and actor. He made his first appearance at New 
York on the 26th of February, 1809, and after visit- 
ing Boston, made a tour of the northern and southern 
theatres with great success. He visited England, and 
on the 4th of June, 1813, made his debut at Drury 
Lane Theatre, London, and though styled the " Ameri- 
can Roscius," was received with great applause. After 
visiting the English provincial theatres and Ireland, he 
retired from the stage for several years, and devoted 
his attention to literary pursuits. In 1826-7, Mr. 
Paine edited in London the Opera Glass. Mr. Payne, 
during his early theatrical career in this country, 
besides the characters already mentioned, appeared 
as Octavian, Holla, Romeo, Zaphna, Frederick in 
" Lovers' Vows," etc. Nature bestowed upon him a 



RECORD OF THE BOSTON STAGE. 103 

countenance of no common order, and though there 
was, when young, a roundness and fairness, which but 
faintly express strong turbulent emotions, or display the 
furious passions, these defects were supplied by an eye 
which glowed with animation and intelligence. A 
more extraordinary mixture of softness and intelligence 
were never associated in a human countenance, and his 
face was a true index of his heart. In general his 
action was elegant, his attitudes bold and striking, and 
his most prominent defects were those of pronuncia- 
tion. Mr. Payne's contributions to the stage are 
" Brutus," which is still occasionally performed. He 
is also the author of "The Lancers," "Oswali of 
Athens," "Peter Smink, or Which is the Miller," 
" Proclamation," " Richelieu," "Therese," "'Twas I y " 
" King Charles the Second, or the Merry Monarch," 
" Clari," and other pieces. Mr. Payne's name, how- 
ever, will ever be associated in the minds of all lovers 
of melody, with that simple yet soul trusting poem, 
" Home, sweet Home," of which he is the author. Mr. 
Payne held the office of United States consul at Tunis,. 
and died there on the 10th of April, 1852. "We cannot 
do the reader a greater favor than by giving the follow- 
ing article upon Mr. Payne, which was contributed to 
the Evening Gazette in May 1, 1852, by one. of his 
schoolmates. It was written by a gentleman of the 
finest literary attainments. 

" There are many subscribers to the Gazette who are 
old enough, as well as myself, to remember something 
of the brilliant boyhood and youth of Mr. John Howard 
Payne, whose death at Tunis, where he was consul for' 
the United States, has just been chronicled in the news- 
papers. 



104 BECOBD OF tiii: coston stage. 

" He was an example of precocious talent, the like of 
which I doubt whether (his country has produced, and 

the object of an admiration such as I have never known 
to be bestowed on any other young person. 

'• My acquaintance with him dates so far back ai the 

autumn of 1804, when I was put to the ' Berry Street 
Academy,' as his father's boarding school in the street 
crossing from Atkinson to Federal Street was called. 
He belonged to a family of genius. A sister, who 
died in early womanhood in 1818, was especially 
admired for rare endowments and accomplishments. 
In the family, as pupils, were several young ladies, 
who have since done great honor to their training. 
Miss Sedgwick was one of them. Howard Payne, 
as he was called, a boy then of twelve years of age, 
used to figure on training days as the captain of 
the ' Boston Federal Band,' a military company, com- 
pletely uniformed and equipped, so as to be in its blue 
and white an exact miniature of Sargent's company, 
the ' Boston Light Infantry.' I recollect that on one 
occasion the ' Boston Federal Band ' took station on the 
left of one of the regiments at a review on the common. 
"Young Payne was a perfect Cupid in his beauty, and 
his sweet voice, self-possessed yet modest manners, wit, 
vivacity, and premature wisdom, made him a most en- 
gaging prodigy. At this time he was publishing a little 
weekly paper, of four pages quarto, called ' The Fly.' 
His father had diligently cultivated his talent for elo- 
cution, and he was the star of the exhibitions which we 
used to have at the Berry Street Academy, where a 
mimic theatre was got up, with stage, curtain, and pit, 
.and in all but dresses and properties we flattered our- 



RECORD OF THE BOSTON STAG-E. 105 

selves that we rivalled the regular practitioners in the 
Federal Street Theatre across the way. I have not 
forgotten how he frightened me one night, when in my 
best Sunday clothes I had been soliloquizing as Old 
JRoque, Floranihe's Folloiver, and at the proper time he 
rushed in and collared me, in the rags and tatters of 
Octavian, which, without concert with me, he had bor- 
rowed of Mr. Powell. I have faced fiercer onsets since, 
but none I think which more tempted me to turn my 
back and disappear. 

"About this time young Betty, as the Young Roscius, 
was making a great noise in England by his persona- 
tions of Hamlet, Eomeo, Tancred, Selini, Zaphna, 
Frederic, Norval, Octavian, and so on ; and our book- 
sellers' shop-windows were full of prints representing 
his attitudes in this or that dramatic exigency. This 
was the spark for which the tinder of young Payne's 
scenic ambition was all ready. Themistocles could not 
sleep for thinking of the trophies of Miltiades ; waking, 
Payne thought, and sleeping, he dreamed of the laurels 
of Betty. He studied, recited, and attitudinized, and the 
vision of weeping boxes and shouting gallery and pit 
filled his mind. 

"Among his pieces of fugitive poetry at this time, 
some of your ancient readers may remember a ' New 
Year's Ode,' and an ' Elegy on the Irish starveling 
boy, poet Dermody.' As to the highest inspiration of 
poetry, that is another thing ; but in respect to exact 
selection of words, to perfect taste and finish, and grace 
of versification, those pieces are not to be exceeded. 

" Payne was placed in a counting-room in New York, 
I believe, in 1805. Presently there appeared, from 



10G BlOOfeD Of mi BpSTOM srvni:. 

week to week, a sheet entitled the 'Thespian Mirror/ 
containing criticism- en theatrical performances. They 
were so bright and judicious as to attract attention and 
curiosity. William Coleman, then editor of the Even- 
ing Post, took pains to trace out the anther, and to his 

astonishmenl found him a boy of fifteen. He intro- 
duced him to hie friends, and Payne became all the 
rage in the fashionable New York circles. Irving, 
Paulding, and Verplanck, (a trio then becoming famous 
by Salmagundi,) Fay, (father of the diplomatist of our 

day,) l>lauvelt, and Brevoort, were among those whose 

flattering notice lie attracted. 1 1 a \ tog gracefully borne 

his part, as not only the Cynthins of the minute, hnt of 

the season, he and his friends assented to the proposal of 

a New York gentleman, by the name of Seaman, to be 
at the expense of his education at college, and to Sche- 
nectady he went tor that purpose. 

" But to remand a young man from public celebrity 
into studious college retirement, is not much easier than 
to bring about the recent scheme of some of our Con- 
gressional Solons, of remanding California into a terri- 
torial State. Payne had tasted the cup of applause too 
young, and perhaps it was scarcely in nature not to 
crave more ; the notice of the great, and the smiles of 
the fair, were not for a boy easy to turn his hack upon. 
He had scarcely got to his place of work at Schenec- 
tady before the ' Pastime/ a weekly magazine of eight 
octavo pages, opened a new communication with the 
public. An old file which we have just looked up, 
shows the first number to have been issued in Febru- 
ary, 1807. In the seclusion of a then inland Calvinistic 
college the seductions of the drama still pursued him, 



EECOED OF THE BOSTON STAGE. 107 

and sock and buskin made their prints all along the 
pages of the ' Pastime.' 

•'•' At length, in 1808, the ruling passion burst through 
all restraint, and he came home to Boston to make his 
preparations for the stage, A generous motive, of an 
impulse of filial duty, excused to him, and perhaps 
concealed from him, the force of the prompting of his 
own taste and ambition. His father had fallen into 
unprosperous circumstances, from which his now ad- 
vancing age did not afford a prospect of relief. I was 
still a member of the family, and shared Howard's 
room, along with the office of prompter and critic, 
while he ' ran through each mode of the lyre/ the dia- 
pason of histrionic passion. At the same time he con- 
ducted the 'Boston Mirror,' for Oliver & Munroe, 
the latter since editor of the Baltimore Patriot. 

u His first appearance on the boards was at the Park 
Theatre, Xew York, in the month of February, 1809. 
He played in Betty's range of characters with immense 
success. He then came to Boston, where an equal 
enthusiasm greeted him. It followed him to Phila- 
delphia, Baltimore, and other Southern theatres. The 
many-headed was entranced, and adepts considered 
his performances not only astonishing for his years, 
but essentially in a high style of art. His large early 
earnings were said to have been devoted to the relief 
of his father's embarrassments. 

" His dramatic career was perhaps at no stage more 
brilliant than at the beginning. I have an impression 
that, a3 he enlarged his range of characters, he studied 
them with less care. His success in Boston in 1811 
and 1812, was not equal to that of his first appearance. 



108 BBOOBD OF tiik BOSTON STA<;i:. 

lie had wearied of his profession at that time, and said 
that nothing detained him in it but the want of some 
other means of livelihood. In the spring of that year 
he embarked for England to try his fortune in that 
country. The war was then just coming on, and popu- 
lar prejudice, which is nowhere more savage than in 
play-house pits and galleries, told against the young 
American. Some one got up a story that he was a 
son of Thomas Paine. These disadvantages were too 
much for him ; and after having forced his way to a 
second or third night at Drury Lane, he withdrew. 

" He acquired the friendship of some Englishmen of 
distinction, and in particular, formed an intimacy with 
Counsellor Phillips. He went the round of the pro- 
vincial theatres, but alter awhile was led to turn his 
professional talent and experience into another channel, 
that of translating French vaudevilles and other pieces, 
and adapting them to the English stage. In this way 
he composed the 'Merry Monarch,' 'Theresa, the 
Orphan of Geneva,' ' Clari,' and other little comedies 
better known to your theatrical readers than to me. 
In these, his charming poetical talent came into play. 
For one of them he wrote the sweet song of * Sweet 
Home,' for which he told me he received fifty pounds, 
while the musical composer had five hundred pounds. 
The tragedy of ' Brutus ' was a more original work, 
more sustained, and of more pretension. Parts of it, 
I believe, are but a cento from earlier and more famous 
writers. But those which are in every sense his own, 
are among the best of the piece. 

' ; War, distance, and different pursuits suspended my 
intimacy with him from 1812 to 1825, when arriving 



EECOED OF THE BOSTON STAGE. 109 

in Paris, I immediately sought him out with the impa- 
tience with which one seeks those who have been an- 
other self in childhood. I found him sharing the lodg- 
ings of TVashington Irving, (who, I believe, was just then 
in Spain,) and engaged in the service of one of the 
great London theatres, in watching for the purpose just 
mentioned, the new pieces brought out in those of Paris. 
It was delightful to find him as little changed since our 
parting, as it was possible for the lapse of more than 
thirteen years to leave a man. During that time (still a 
boy when he had exiled himself) he had been absent from 
home and friends ; he had been loose upon the world ; 
he had been living about London and Paris green- 
rooms. But he had retained all the freshness and 
simplicity he had carried away. The glorification and 
caresses of early times had not spoiled him for rational 
satisfactions and a modest self-estimate. The world 
had sometimes gone hard with him, but it had done 
nothing in the way of making him acrid and morose, 
The man was as gentle, unhackneyed, sincere, and 
sanguine as the boy. 

" He returned to this country in 1831, and in the fol- 
lowing winter a benefit was arranged for him by some 
of his old friends at the Tremont Theatre. 

" He made his home in New York, with an attached 
younger brother, who had risen to eminence as a prac- 
titioner of law in that city. He sent out proposals for 
a magazine on a scale of such magnificence and costli- 
ness that the scheme did not succeed. At this time he 
consulted me respecting the publication of a 'Life of 
the Saviour/ which he had prepared in the manner of 
a harmony of the four Gospels. It was beautifully 



110 RECORD OF TIIE BOSTON STAGE. 

executed, on the common theory of the three years 
duration of the ministry of Jesus. But the recent pub- 
lication of Mr. Ware's admirable work with the same 
title had pre-occupied the market. He became inter- 
ested in the afFairs of the Cherokees, at the time of 
their troubles, and was for awhile actively employed 
with John Ross, in his own country and at Washington. 
At one time he was arrested and carried off by a party 
of Georgia militia, on whom he took good-natured but 
exemplary vengeance by a history of their exploit in 
the newspapers. He had a taste for hazardous adven- 
ture. Before leaving America, he had been one of the 
party which defended Hanson's printing office in Balti- 
more, and which was afterwards attacked by the mob, 
who killed one or two, in the jail where they had been 
lodged for their protection. 

"In 1841 he w r as one of the most welcome and fre- 
quent habitues of the Presidential mansion. In the 
summer of that year he received from President Tyler 
the appointment of Consul at Tunis. As I sat with 
him at his table that evening, he pointed to his full 
sized portrait hanging by, representing him in the cha- 
racter of Zaphna, in the dress which we both remem- 
bered to have first worn in that part. He said he had 
the dress still, and asked me how I thought it would do 
for him to wear it at his presentation to the Bey. But 
he made no joke of his official business. He did it 
very thoroughly and ably. I have looked over his let- 
ter books, and I do not believe the government has often 
had agents who have better filled their place. I re- 
member the books, too, as a feast to the eye. His 
hand-writing was beautiful. Indeed, in whatever be- 



RECORD OF THE BOSTON STAGE 111 

longed to him, from verses to furniture, from the choice 
expression of a letter to the folding of the sheet that 
bore it, there was a rare governing elegance and taste. 
"Mr. Polk's administration recalled him from the 
consulate at Tunis. He was re-appointed to it last 
year by Mr. "Webster, and at that post, it seems, has 
now closed his life. Many mourn him. The fascina- 
tion of his early brilliancy has left its record on many 
minds. The tidings of his departure touch many hearts 
with very tender memories. Always buoyant, full of 
resource, rich in the stores of a varied and peculiar ex- 
perience, his society had always a singular attraction. 
Always busy about something, he always kept his mind 
cheerful and wide awake. His abilities did not fulfil 
their early promise. His faculties were never disci- 
plined by the healthy toil of exact study, nor was his 
knowledge enlarged by methodical and various acquisi- 
tions from books. . But, if he did not assimulate or 
amass in the way necessary for a higher eminence than 
he attained, so quick a mind with such opportunities 
could not fail to collect a great deal of what was profit- 
able and pleasant for immediate use ; his grace of ex- 
pression from boyhood to age, combining remarkably 
the exactness of art with the ease of nature, had a sin- 
gular charm ; and I presume a collection of his letters 
might be made which would take a high rank in that 
department of composition. But what I like most to 
think of is, that a life begun in some respects so unpro- 
pitiously should have passed to its end so blamelessly 
and so happily. To be the spoiled child of public en- 
thusiasm, and not be a ruined man — to lose the huzzas 
that have cheered one on to the threshold of life and 



112 BBOOBD or Tni: BOSTON 

not become a Um4 or a misanthrope, — to be mi 
drunk with admiration in the feeblenesa of on< 
and not wake to a chronic imbecility or spleen, beep 
the presence of elements of a noble nature. 

" The following lines, addressed by him to Miss Mayo, 
of Virginia, now Mrs. General Scott, I Bet down from 
memory. They were written, I believe, in 1813 or 
1814:— 

1 Last night, whil d my tx d, 

I waited for the dawn of morrow, 

Soft Blumbers eased my aching head, 
And Boothi d in fairy di orrow. 

'I stood in that serene rettt 

Which smiles in spite of stormy weather, 
Whe 
And bmsh together. 

'When booi twelve sylph-like forms, I dreamed, 

Successive on my vision darted, 
And still the latest comer seemed 

Fairer than she who just departed. 

' But one there was, whose azure eye 

A melting holy lustre lighted, 
Which censured while it waked, the sigh, 
And chid the feelings it excited. 

' " Mortal," a mystic speaker said, 

" In these the sister months discover ; 
Select from these the brightest maid, 
Prove to the brightest maid a lover ' 

' I heard, and felt no longer free, 

From all the rest I gladly sever, 
And in perennial joy with thee, 
DearMay-O! could abide forever.' " 



RECORD OF THE BOSTON STAGE. 113 

On the 18th of September, Mrs. Barley, formerly 
Miss Westray, re-appeared as Helen Worrett in the 
comedy of " Man and Wife." Mr. Darley made his 
first appearance before a Boston audience as Paul in 
" Paul and Virginia," and at once established his fame 
as a vocalist, and in the opinion of the critics was pro- 
nounced the best who had then appeared in Boston. 
His Frenchmen were also good, and his fine manly face 
gave him superiority to most who represented the sec- 
ond gentleman of the drama. 

Mr. and Mrs. Claude . appeared. Claude married 
Mrs. Hogg, who possessed a good figure, sung well, 
and was a very respectable actress. Claude was 
only fair as an actor. He gained some repute for his* 
representation of "Tekeli" the first season of that, 
piece at the Federal Street. He was occasionally 
rather loose in his habits, but subsequently became 
serious, studied theology, and preached in Boston once 
or twice during a visit he made here. 

An American play by William Charles White, Esq.,. 
entitled "The Clergyman's Daughter" was brought 
out. The play was formed in some respects upon the 
" Gamester," and was quite successful. 

At this time the taste of our citizens for spectacles,, 
began to evince itself. " Tekeli," brought out in 1809, 
had proved successful, and the managers announced as- 
in preparation "The Forty Thieves," that much 
admired play, at once the delight of the juveniles, and, 
a favorite with children of an older growth. In order 
to bring it out with fine effect, the theatre was closed 
for ten days, and on the 12th of March, 1810, the grand. 
8 



v 



11! BBOOSD OF THE BOSTON STAOi:. 

spectacle was produced, in a style of magnificence, we 
arc assured by those who saw it, which has never been 
equalled since. The leading characters were persona- 
ted as follows: All Balm, Mr. Bernard; Ganem, 1 tor- 
ley; Mwtapha, (the cobler) Dickson; Sclim, Adams; 
Oassim, Johnson; Abdallah, Claude; J/assarac, Mills; 
1st Robber, Barnes; Arcobrand, Robinson; War f Par- 
sons; Famine, Stowell ; Fraud, Sumes ; Rapini, Al- 
len ; Morgiana, Mrs. Darley ; Cagia, Mrs. Mills ; 
Zaide, Mrs. Simpson ; Ardmelle, Mrs. Turner ; Attend- 
ant on the Faerie, Mrs. Graupner; Gossamer, Miss 
Worrall ; Zelie, Mrs. Claude. 

"When this piece was produced, the managers were 
about two thousand dollars out of pocket on the busi- 
ness of the season, but it proved the " open sesame " to 
the purses of the public, and so great was the attraction 
that people were refused admittance on several even- 
inn-, (very inch of room being occupied long before the 
curtain went up. Books of the performance were sold 
at twelve and a half cents, and the managers not only 
retrieved the losses made in the earlier months of the 
season, but divided some three thousand dollars clean 
profit over and above all expenses. The receipts of 
the first night were nine hundred and eight dollars 
and thirty-seven cents, and the amount received for 
nine successive performances was six thousand six 
hundred and forty-seven dollars and twelve cents. The 
play had a good run for many seasons. 

Fennell, who was then editing a magazine here, 
called " Something edited by Nemo Nobody," com- 
posed the following epigram on the play : — 



RECORD OF THE BOSTON STAGE. 115 

" The Beggar's Opera they say, 
(Sure fashion is a witch;) 
Made Rich, the manager, be gay, 
And Gay, the author, rich. 

" So here aspiring honesty 
No patronage receives ; 
While thick as bees the public fly 
To help the Forty Thieves. 

" 'Tis well our managerial clan 
The public taste have hit; 
For had they not, this season's plan 
Had left the biters bit. 

" No more counts Powell what it cost — 
His cheeks with rapture burn ; 
What forty honest souls had lost 
His Forty Thieves return." 

Mr. Dwyer appeared during this season. 

The season of 1810-11 brought before the Boston 
public Mr. and Mrs. Duff. They were engaged by Mr. 
Dickson in England. Mr. Duff was an Irishman by 
birth, and with his wife had performed in Dublin. Mr. 
Duff made his first appearance as Gossamer, in " Laugh 
when you Can ; " his forte was in genteel and sprightly 
comedy. In Philadelphia he was a great favorite, and, 
on one occasion, exhibited the versatility of his powers 
by performing Macbeth and Diddler on the same even- 
ing. His second benefit in that city yielded $1,574. 
Mr. Duff was subsequently manager of the Federal 
Street Theatre, and died in Philadelphia in April, 
1831. 

Mrs. Duff made her first appearance as Juliet to her 
husband's Romeo. A more beautiful woman had not 
trod the stage, and so far as the making up, and personal 
was concerned, it was admitted that a more gentle 



11C KKCORD OF THE BOSTON STA< 

Juliet, or one possessing so black an eye, had not ap- 
peared ; but the "spirit" seemed wanting. Her style 
was indifferent^ and lacked both power and concep- 
tion, and her best friends lost all hopes of hex I 
assuming a position. 31 r. Duff had his faults, and 
among them a love of jovial company, which threatened 
to check his prosperity as an ador. Stimulated by 
necessity, and fearful, perhaps, that she might at any 
moment be thrown upon her own resources, Mrs. Duff 
brightened up, and though for years she had been con- 
tent to toil and travel as a third rate actress, Bhe sud- 
denly, as if touched by a magic wand, threw off the 
languor of indifference, and exhibited the true fire of 
genius. The change was sudden, but it proved per- 
manent, as many who recollect her Behridera, Juliet, etc., 
at the Trcinont can testify. Mrs. Duff was formerly a 
Miss Dyke, and sister to Tom Moore's first wife, and wo 
have seen it stated that the poet's song commencing — 

"Mary, I believe thee true," 

was addressed to Mrs. Mary Duff. After her hus- 
band's death this lady contracted a very singular mar- 
riage with Charles Young. She met this gentleman, 
then superannuated, in Broadway, New York, who 
saluted her with the courtesies of the day, and begged 
permission to escort her to her lodgings. As they were 
walking along very quietly, Mr. Young, after a few 
moments of mental abstraction, said : " Mrs. Duff, you 
are a widow and I am a widower ; suppose we step 
into the office of a magistrate and get married." 

" With all my heart," replied Mrs. Duff, and so said 
so done, and Mr. Charles Young was legally wedded to 



RECORD OF THE BOSTON STAGE. 117 

Mrs. Mary Duff. Prior to the ceremonial it was agreed 
that the marriage should not be consummated till the 
lapse of six weeks, and in the meantime Mrs. Duff was 
to go by her former name, in order that she might secure 
professional preferment. Thus far matters worked well, 
but Mr. Young wishing at the end of a few days to take 
his wife to his home, called on the lady and found her 
gone to Philadelphia. Mrs. Duff avowed that she had 
perpetrated the act of matrimony under the influence 
of mental hallucination, produced by sorrow and illness, 
in connection with potations of opium, and never 
acknowledged Mr. Young as her husband. Mrs. Duff is 
still living. We shall have occasion to allude to her 
impersonation frequently in this record. She made 
a visit to England, after she had attained to popularity 
here, but with no marked success. 

Mr. and Mrs. Samuel Drake and daughter also ap- 
peared this season. Mr. Drake became one of the 
pioneers of the drama in the "West, and the first of a 
family which has ever followed the profession. Miss 
Julia Dean, the most promising American actress of 
the present day, is the daughter of Miss Julia Drake, 
who died in the bright meridian of her theatrical glory, 
and Mr. Samuel Drake is her grandfather, who is still 
living in Kentucky. Mr. Entwistle, Vining, etc., were 
members of the stock. It was also about this time 
that Mr. Morse, a law student, encouraged by Mr. 
Cooper's commendations, first attracted attention as an 
actor, but the sanguine hopes of his friends and the 
public were not realized as he increased in years. In 
the last war with Great Britain, Morse, who had played 
General Warren, in the melo -drama of " Bunker Hill/' 



118 RECORD OF THE BOSTON STAGE. 

made application to General Hull and General Dear- 
born for a commission, which at that time it was easy 
to obtain. "What commission would you like, Mr. 
Morse ? " asked General Hull. " Why," replied Morse* 
" I should like a pretty good one ; I :>hould like a Captain's 
commission." " That is a very modest request," said 
General Dearborn, "for one who can play the General 
as well as he can." He entered the service, served 
during the war, and has since died. 

On the 3d of January, 1811, George Frederick 
Cooke, one of the greatest actors of his day, then recently 
arrived from England, made his appearance at the Bos- 
ton Theatre, and as his name will ever be associated with 
the brightest and most distinguished in the theatrical 
callender, we will give a brief biographical sketch of 
his career: 

George Frederick Cooke was born at Westminster, 
England, on the 17th of April, 17DG. His father, a 
dashing officer, died while he was young, leaving his 
mother in straitened circumstances. His mother did 
not long survive his father, and after her death, Cooke 
was apprenticed to Mr. John Taylor, a respectable 
printer of Berwick. His attention was chiefly en- 
grossed by getting up private theatricals, and he paid 
but little attention to types or ink. For several years 
he was a rolling stone, wandering here and there. 
Visiting London, he saw Macklin and Garrick perform, 
and in the spring of 1776, first faced an audience at 
Brentford, in the character of Dumont, in the tragedy 
of " Jane Shore." For two years he was a member of 
a strolling company, and though he gained experi- 
ence he gained little else. In the spring of 1778, Mr. 



RECORD OF THE BOSTON STAGE. 119 

Cooke made Lis debut in London, and whether it was 
not the season, or that he lacked talent, we know 
not, but he made at that time no decided impression. 
He performed with Mrs. Siddons at several of the 
provincial theatres, but already he had contracted habits 
of dissipation and drunkenness, which he was only 
temporarily free from during a life brought to a prema- 
ture close by brutal self-indulgence. In 1794, then 
thirty-eight years of age, having been seventeen years 
a player, he made his first appearance in Dublin as 
Othello. He was connected with the theatre here a 
year, when, in a fit of desperation, he enlisted as a 
private, in a regiment destined for the "West Indies, but 
a fit of sickness prevented his embarking with his regi- 
ment, and through the aid of friends, after remaining 
some time in service, he obtained his discharge, and 
appeared again at Manchester, and was greeted with 
the most enthusiastic applause. Shortly after, he again 
disappeared from the theatrical world, and it is a matter 
of uncertainty where he passed twenty months, though, 
when under the influence of liquor, he asserted, that 
during this period he was in the British navy, which 
attempted to subjugate the United States. In 1794, 
Cooke married Miss Daniels, an actress, who soon for- 
sook her lord, when on a visit to Dublin, and returned 
to England, and the marriage was afterwards declared 
null and void by legal authority. For two years Cooke 
remained in Ireland, leading a life of dissipation, 
performing when able, and disappointing the public 
when physically unable to appear. In 1800, Mr. Cooke 
was offered an engagement at Covent Garden, and for 
a time he rose above the debasing habits he had con-- 



120 BECOBD OF TnE BOSTON STAGE. 

traded, and on the 31st of October, appeared as 
Richard I If., astonishing a London audience by fail 
gening. In some characters of tragedy he was thought 
by many even superior to John Philip Kemblc, who 
till then held undisputed sway in the tragic theatrical 
world. His great success at thi< time was in Shylock^ 
in Iago, and in the Man of the World. In these he 
did not fear, and had no occasion to fear any competi- 
tion in his own times, and his feme would have been 
established and his fortune made, had he not taken, on 
the 18th of April, 1801, the first of those strange 
liberties with the public, that afterwards became insult- 
ing and insufferable. 

When Cooper returned to England in 1803, Cooke 
had again contracted the habit of drinking to excess. 
On one occasion, after having passed a day with Cooper, 
he attempted to perform, but the hisses were loud and 
strong, and, overcome by the fumes of wine, he walked 
up the stage. Mr. Johnstone, who was playing Sir 
Calagltan, addressing the audience in full brogue, said : 
"Ladies and gentlemen — Mr. Cooke says he can't 
spake." Mr. Cooke was a member of Covent Garden 
with Mr. Kemble and Mrs. Siddons, and on one occa- 
sion, when he was to perform Pizarro to Mr. Kemble's 
Holla, and Mrs. Siddons's Elvira, he was so indis- 
posed that after a few ineffectual attempts to proceed, 
(he made an effort to address the audience, and began — 
pressing his hand upon his cheek, and making a lament- 
able face : " Ladies and gentlemen : my old complaint — 
my old complaint." This was irresistible, and the 
laughter so instantaneous that he retired. Once play- 
ing Shyloch, when intoxicated, he was much hissed; 



RECORD OF THE BOSTON STAGE. 121 

two nights after, he was advertised for Richard, but 
did not appear at all. On his next performance he was 
received with much disapprobation, when he turned to 
Claremont, and said, " On Monday I was drunk, but ap- 
peared, and they did n't like that ; on "Wednesday I was 
drunk, so I didn't appear, and they don't like that. 
What the devil would they have ? " Once, at Glas- 
gow, Eich, of Edinburgh, had occasion to make an 
apology for Cooke's being unable to act, and it was to 
a tragic tone, suiting the action to the word : " Ladies 
and gentlemen — Mr. Cooke, I am grieved to say, has 
been taken with the loicl complaint," alluding to George 
Frederick's predilections for the punch-bowl. In the 
summer of 1802, Cooke played Glenalvon, to Master 
Betty's Young Norval. Master Betty was one of those 
wonderful cases of precociousness which from time to 
time astonish the theatrical public. His success was 
immense throughout England, Ireland, and Scotland, 
and no prodigy since has ever created such a furore. 
Cooke lost cast by playing with the pigmy, but he was 
obliged to do so, being entirely dependent upon his 
earnings for support. In 1808, Miss Lamb, with whom 
he became acquainted in Edinburgh, arrived in London 
as Mrs. Cooke. 

Our limits will not allow us to enter into any lengthy 
details respecting the stratagem used by T. A. Cooper, 
then manager with Price of the New York theatre, for 
inducing Cooke to visit America. It was in 1800, that 
Cooper, then in Liverpool, England, met with Cooke, 
who still continued his course of dissipation. They 
met, and Cooper, not expecting to induce the great 
tragedian to go across the water, asked him if he knew 



122 RECORD OF THE BOSTON STAOI.. 

of any good actors that he could engage? Cooke 
replied that he himself might be induced to go, and 
Cooper, after consulting with Dickson of the Federal 
Street Theatre, then in London, wrote him in August 
from London, offering him twenty-five guinea- a I 
for ten months to play at New York, Boston, Philadel- 
phia, and Baltimore, a benefit at each place, and 
twenty-five cents a mile for travelling expenses bet v. 
the above-mentioned place- ; his passage over the 
Atlantic being paid by Mr. Cooper. To this Mr. 
Cooke made no reply, and all negotiations were for the 
time ended, till Mr. Cooper again met Mr. Cooke at 
Prescott, then just recovering from one of his "semi- 
occasional sprees." lie accepted the oiler, and Mr. 
Cooper, aware that if Mr. Cooke's departure were 
known, it would be prevented, at once resolved to carry 
him to a friend's house, near Liverpool. Here, in a 
state of inebriety, he remained over night, and was 
conducted thence in a carriage and four to the place of 
departure. On their alighting, says Mr. Dunlap, in 
his' " Life of Cooke," from which we gather many par- 
ticulars for this condensed biographical sketch, Mr. 
Cooper addressed Cooke, offering him his choice, either 
the barge*or the coach. He persisted in his intention 
of going, and he was rowed on board the Columbia, 
Captain Hazard, which set sail on the 4th of October, 
1810. Even after he was on board, he was only pre- 
vented from again being taken on shore by bribing the 
custom-house officers, owing to some informality in his 
name being omitted in the passenger list at the custom- 
house. 

Cooke's arrival in America, which marks an era in 



RECORD OF THE BOSTON STAGE. 123 

the dramatic world of this country, was a fact that could 
scarcely obtain credence. Many were inclined to 
believe that it was an impostor, and he was actually 
playing in New York, before the residents of Boston 
and Philadelphia were aware of his advent. The 
passage, which had been one of abstinence, had physi- 
cally improved him, and on the 21st of November, 
1810, he made his first appearance on the American 
stage, in the character of Richard the Third, before an 
audience of three thousand two hundred people. Mr. 
Cooke was then in the fifty-fifth year of his age, but 
he never, perhaps, had performed better in his life, and 
his success was immense. There was $1,820 in the 
house, and, till he disappointed the public on the night 
of his benefit in his usual way, the receipts invariably 
exceeded a thousand dollars per night. During the 
seventeen nights he played in New York, the money 
received by the manager was $21,578. 

On the 3d of January, 1811, Mr. Cooke made his 
appearance at the Boston Theatre in Richard the Third, 
with the following cast : " Duke of Buckingham, Mr. 
Entwistle ; Earl of Richmond, Mr. Duff; Prince 
Edward, (first appearance,) Master Drake; Lord 
Mayor, Mr. Dickson ; Queen Margaret, Mrs. Powell ; 
Lady Anne, Mrs. Duff; Duchess of York, Mrs. Drake. 
During this visit to Boston he sat to Stuart for his por- 
trait, and was engaged in several rows, the consequence 
of his old habit. The result of this engagement, how- 
ever, was as follows : — 



January 3d, 


Eichard, 


$881 50 


" 4th, 


" ... 


739 87 1-2 


7th, 


Man' of the World, 


887 75 



124 RECORD OF THE BOSTON STAGE. 



Jannarj 


\ nth, 


Merchant of Venice, . . fi7C» 07 1-2 


u 


10th, 


Douglass and Love a la Mode, 704 oo 


u 


11th, 


Man of the World, . . ci i L9 


II 


14th, 


Merchant of Venice, . . 826 7", 


14 


16th, 


Othello, . . . . 841 7.-. 


u 


17th, 


Merchant of Venice, . . 624 87 1 4 


(( 


18th, 


Macbeth, (Mr. Cooke's clear 

night, .... 1,008 12 1-2 


u 


21st, 


1st part of Henry IV., . . 807 50 


(1 


22d, 


Othello, . , . . .1,118 86 


II 


24th, 


let part of Henry IV., . . 886 :i7 1-2 




Richard III., 916 



The house had not been so crowded for six years, 
and, as will lie seen, the receipts were great, when wc 
consider the capacity of the house. Price (Cooke being 
paid a salary) received for this engagement $3,640 G8. 
While in Boston, it is said that at a private party, he 
was asked what was the most beautiful passage he had 
ever read. " Mr. Cooke replied : " St. Paul's Defence 
at the Tribunal of King Agrippa," and calling for the 
Bible he read it. Our informant states it was certainly 
the most exquisite piece of reading he ever listened to. 
The subsequent visits of Mr. Cooke to this city we 
shall allude to in this record according to their data, 
and will briefly close this sketch. Cooke, after this, 
visits Philadelphia, and while there sat for his portrait 
to Sully. The portrait is in the possession of the 
Academy. It represented him in Richard. lie per- 
formed sixteen nights in Philadelphia, and the total 
receipts were SI 7,360 32. He also appeared in Balti- 
more, performing with Mr. Cooper, and was married 
to Mrs. Behn, in Xew York, on the 20th of June. 
After performing several engagements in the principal 
northern cities, he visited Providence, R. I., with the 



KECOED OF THE BOSTON STAGE. 125 

Boston company, and on the 31st of July, 1812, 
performed Sir Giles Overreach to a house, the receipts 
of which were $285, — Ms last appearance on any. 
stage. He returned to New York, and on the 26th of 
September, 1812, the great tragedian breathed his last, 
aged fifty-seven years and five months! Mr. Cooke 
had frequently announced his intention of returning to 
England, but his career was terminated through the 
brutal indulgence of his love of drink, and his genius 
and talents crushed by the blighting effect of that 
demon who obtains oftentimes the strongest hold over 
those who are the most brilliant in intellect. 

Those who recollect Mr. Cooke, speak of him in 
terms of the highest praise ; but no evidence to sub- 
stantiate his claims is necessary, for the man who could 
descend from the pride of Glenalvon to the sycophancy 
of Sir Pertinax, who could assume the gentlemanly 
part with the unmanly conduct of Stuhely, and abandon 
it for the imposing boldness of Pierre — who could 
display the violent transitions of Pichard, or the un- 
willing gradations of Macbeth, must have been the 
possessor of a range of talent as great as its power was 
eminent. "We are told, that a transient view of this 
wonderful performer off the stage, impressed an 
observer with the idea that he could not be an actor. 
He possessed a frame neither lofty nor graceful, jieither 
strong nor symmetrical ; a face not peculiarly flexible, 
although irradiated by an eye of piercing brightness ; a 
manner rather inelegant, and so peculiar that it appeared 
incapable of change or adaptation to variety of charac- 
ter, and the absolute destitution of voice, (for all his 
conversation was in a kind of whisper,) were circum- 



126 RECORD OF TIIE BOSTON STAGE. 

stances which, would seem incompatible with versatility 
of dramatic exhibition. Such is a description of an 
actor who was pronounced to be u the true disciple of 
the bard who dipped his pen in the heart." In the 
Boston Museum there is a wax figure of Mr. Cooke in 
the dress hi which Cooke performed. 



CHAPTER VIII. 

Cooke's Last En^acement in Boston. — Entwistlc and Cooke hors 
du combat. — The Burning of the Richmond Theatre. — The War 
of 1812, and its Effects on Theatricals. — Cooke in Providence. — 
Anecdotes. — The Play of "A New "Way to Pay Old Debts. — 
Commemoration at the Boston Theatre of the Capture of the Guer- 
riere by the Constitution. — Mr. and Miss Holman. — Sketch of 
Holman. — "Timour the Tartar." — Commemoration of Perry's 
Victory on Lake Erie. — Great Fire at Portsmouth, and Benefit. — 
Visit of Commodore Perry to the Theatre. — Anecdote of McKen- 
zie. — Visit of Commodore Stuart to the Theatre, etc., etc. 

TnE theatre, during the vacation previous to the 
season of 1811-12, was refitted. A new stage was 
built, new decorations provided, and lamps of Ameri- 
can manufacture, of a peculiar structure, were intro- 
duced. On Monday, the 30th of December, Mr. 
Cooke was announced to appear and play his farewell 
engagement, prior to his departure for Europe, having 
at that time engaged his passage on board a ship which 
was to sail from this port to England, but owing to a 



SECOKD OF THE BOSTON STAGE. 127 

five days' gale in Long Island Sound, he was detained, 
and did not open till the next night. The receipts of 
this engagement were : — 

Tuesday, Richard HI., $761 37 

Wednesday, Venice Preserved, . . . 593 87 

Friday, Man of the World, . . . 811 00 

Monday, (Jan. 6, 1812,) Henry IV., . . 703 62 

Wednesday, " M . . . 838 87 

Thursday, Wneel of Fortune, ... 736 50 

Friday, Venice Preserved, and Love a la Mode, 854 25 

On this night Mr. Cooke had a return of the hotel 
complaint, and the disease proved contagious, for 
Entwistle was also taken with it, and the habit clung to 
him till death. It is stated that Entwistle committed 
suicide in New Orleans. He took a dose of poison, 
and then went to his room, where, with a bottle of 
brandy at his side, and a cigar in his mouth, he awaited 
the certain coming of death, and was found in this 
position after the fatal drug had done its work. Both 
were so badly afflicted in the evening that they could 
not retain control of their understandings, and were 
obliged to give up before the afterpiece was concluded. 
The audience hissed, and Cooke retired in disgust — 
his kind friends stating that his weakness was owing 
to exposure on board the packet on his passage from 
New York. He did not act again until Monday, the 
20th, when he was received very coldly, and as it will 
be seen the houses fell off : — 

Monday, (Jan. 20th,) Merchant of Venice, . . §470 50 
Wednesday, New Way to Pay Old Debts, . ' . 417 62 

Thursday, Revenge, 520 12 

Friday, * Richard, 704 75 

Monday, Macbeth, 609 50 



128 RECORD OF THE BOSTON STAGE. 

Tuesday, New Way to I'ay_01d Debts, . . 4.">1 50 

Wednesday, B 865 37 

Friday, Lear, 

Monday, Othello, 87l 

Wednesday, Merchant of Venice, . . . C58 37 

Thursday, Lear, " ; 75 

Friday, Macbeth, (Benefit,) . . . . 68 

Mr. Cooke received for his share of this engagement 
of nineteen nights, $8,200. 

The memorable conflagration of the Richmond (Va.) 
Theatre, causing its entire destruction, and the immense 
loss of life, which occurred on the 2Gth of December, 
1811, just previous to Cooke's second visit to this city, 
must claim a passing note. Mr. Cooke was, in a 
measure, the cause of this sad catastrophe. The thea- 
tre would have been closed several weeks previous, but 
Mr. Cooke was engaged to appear there and it was 
kept open, when the eccentric tragedian, though a car- 
riage was in waiting at New York to transport him 
thither, took a fancy that he would visit Boston, and 
thus disappointed them. On the night of the destruc- 
tion of this theatre a new play and pantomime was 
advertised for the benefit of Mr. Placide, and the enter- 
tainments attracted an audience of seven hundred. 
The play and the first act of the pantomime went off — 
the second act had begun, when from some mismanage- 
ment of the lights, a portion of the scenery took fire, 
and sparks fell upon the stage. A portion of the audi- 
ence conceived this to be a part of the performances, 
while others started, but were reassured when it wa3 
announced from the stage that there was no danger. 
But the flames spread more rapidly than the performers 
could detach the scenery, and finding all attempts fruit- 



RECORD OF THE BOSTON STAGE. 129 ! 

less, it was announced that the house was on fire. Those 
in the pit and gallery succeeded in making their escape,, 
but those in the boxes became panic-struck, and rushed 
for the stairway, which was very narrow, and was 
almost instantaneously blocked up with human beings.. 
One or two in the rush were thrown into the pit, and. 
from thence found easy exit. In two minutes after the 
alarm was given, the whole audience were enveloped 
in hot, scorching smoke and flame. The lights were 
extinguished by the black smothering vapor. Those 
who had gained the outside implored the sufferers to 
leap from the windows, and many did so, though they 
were severely injured. The alarm soon became known 
in the city, and mothers and fathers, relatives and 
friends, at once repaired to the spot to seek out sons 
and daughters, parents and relations. But who can 
picture the distress of those, who, unable to gain the 
windows or afraid to leap from them, were pent up in 
the long narrow passages, suffocating by the smoke, or 
writhing in agony in the flames ? Several, who emerged 
from the building, were so much scorched that they 
perished, while many others were crushed under foot 
after getting outside of the door. But we will not 
dwell upon a scene of such destruction, nor relate 
instances of peculiar grief. Seventy-one persons in all 
were either suffocated or burnt to death that night. On 
the 27th, business was suspended in Richmond, banks 
and stores were closed, and a law was passed prohibit- 
ing amusements of every kind for the term of four 
months. The following Wednesday was set apart for a 
day of humiliation and prayer, and in many of the 
9 



8.80 K i : t ORTJ OF Tin: BOSTON STAGE. 

cities of the Union religious services wen- holden, 
while the citizens were mourning for thirty days. 

Before the close of the season of L813, Master John 
Howard Payne again appeared at the Federal Street 
Theatre with succe . 

The formal declaration of war with Great Britain, 
made by the United States on the 18th of June, 1812, 
caused by British excesses in violating the American 
on the greal highway of nations, the impressment 
of American seamen, and other harassing measures 
adopted by England, threatened to dim the prospects of 
theatrical operations. In times of great excitement, 
the public mind is too occupied to pay much attention 
to the stage, and consequently in Beasons of political 
contest, or time of war, the theatre is apt to be deserted. 

In the Bummer vacation of 1812, Messrs. Powell 
.and Dickson engaged Cooke to appear in Providence, 
prior to his intended departure for England. On the 
13th of July the great actor commenced an engagement 
at Providence, where he opened as Shylock. lie was 
remarkably steady and regular in his habits, never once 
failed to perform when announced, and some nights it 
thought that he acted better than he had ever done 
in Boston. On one occasion, Cooke, to oblige his friend 
Colonel Blodgett, of Providence, consented to play 
Falstqff, which is a somewhat arduous undertaking in 
the heat of summer. Just prior to the rising of the 
curtain, a heavy thunder-shower occurred, and very 
few had gathered to witness the performance. Mr. 
Cooke looked at the empty benches, and then address- 
ing the manager, said, " What shall we do ? postpone 



RECORD OF THE. BOSTON STAGE. 131 

the play ? " " Oh no ; that is not according to the rule 
of the Boston Theatre ; we always play, good house? 
or poor houses," was the reply- " Why," said Cooke, 
"there are not twenty dollars in." " The Boston The- 
atre has been opened, and the whole performance 
given, when there were only nine dollars in the house,' ' 
replied the manager. " Well, then, we will play," said 
Cooke. Before the curtain went up, the single public 
hack, which Providence then possessed, had made re- 
peated calls at the theatre, delivering its closely-packed 
occupants, till the house was well filled. Cooke's en- 
gagement concluded, as we stated with Sir Giles Over- 
reach, his last performance on any stage. 

The play of " A New Way to Pay Old Debts " will 
ever be memorable, from the fact that the great Cooke 
closed his theatrical career with the impersonation of 
Sir Giles. This drama has been considered one of the 
finest of the ancient stage, and possesses so many feat- 
ures of merit, that it has retained its position among 
the popular acting dramas for upwards of two hundred 
years. The author, Philip Massinger, was an unfor- 
tunate poet, whose life was spent in obscurity and 
poverty, and who dying in 1640, almost unknown, was 
buried with no other inscription than the melancholy 
note in the parish register of Bankside, Southwick, 
"Philip Massinger, a stranger." He wrote a great 
number of pieces, of which eighteen have been pre- 
served. The "Virgin Martyr," the "Bondman," the 
" Fatal Dowry," the " City Madam," and the " New 
Way to Pay Old Debts," are the best known of his 
productions. In the production of the " Virgin Mar- 
tyr " he was assisted by Decker, who had considerable 



132 RECORD OF THE BOSTON STA I 

poetical enthusiasm, -which enabled him to beautify many 
scenes, and supply Massinger's deficiency in this re- 
spect. The "Fatal Dowry" was also the joint pro- 
duction of Massinger and Nathaniel Field, and in con- 
nection with Middleton, Rowley, he produced " The 
Old Law." The comedy of "A New Way to Pay 
Old Debts " was produced prior to the year 1683, when 
it was first printed in quarto : the title-page stating it 
to have been " oft acted at the Phoenix in Drurie-lane, 
by the queen's majesty's servants." The scene is laid 
in the country near Nottingham, and the time of its 
action may be supposed to occupy about five days. 
The powerful character of Sir Giles Overreach, is 
shown by Gifford to have been probably copied from 
nature, together with the parts of Justice Greedy and 
Mar rail ; the originals being called Sir Giles Mompes- 
son, one Michel, a poor mean justice, and his clerk. 
About 1G21, Jame I. had granted to the two former 
a patent for the manufacture of gold and silver lace, 
which they perverted by adulterating the metals " with 
copper, and sophistical materials," which produced the 
most deadly effects. " Sir Giles," continues Wilson, in 
his Life and Reign of James I., " had fortune enough 
in the country to make him happy, if that sphere could 
have contained him ; but the vulgar and universal error 
of satiety, with present enjoyments, made him too big 
for a rusticall condition ; and when he came to Court, he 
was too little for that ; so that some novelty must be 
taken up to set him in equilibrio to the place he was 
in, no matter what it was, let it be never so pestilent 
and mischievous to others, he cared not, so he benefited 
by it." 



RECORD OF THE BOSTON STAGE. 133 

Massinger had not (remarks Charles Lamb) the high- 
er requisites of his art in any thing like the degree in 
which they were possessed by Ford, Webster, Tourneur, 
Hey wood, and others. He never shakes or disturbs the 
mind with grief. He is read with composure and pla- 
cid delight. He wrote with that equability of all the pas- 
sions, which made his English style the purest and most 
free from violent metaphors and harsh constructions, of 
any of the dramatists who were his contemporaries. 

Henderson appeared as Sir Giles, at Covent Gar- 
den in 1781. J. P. Kemble also sustained the part 
with very considerable talent; but perhaps Edmund 
Kean first performed it with absolute perfection, at 
Drury Lane, January 12, 1816. He acted it in his 
very best style : he kept close to the character, and in- 
dulged himself in few or none of those freaks or relax- 
ations of manner, into which he occasionally broke in 
his other parts, and injured their integrity. His per- 
formance was vigorous, true, uniform, and complete ; 
and the conclusion was as terrific as any thing that has 
been seen upon the stage. It threw ladies in the side 
boxes into hysterics, and Lord Byron himself into a 
"convulsion fit." One veteran actress was so over- 
powered, by the last dying speech, that she absolutely 
fainted upon the stage. Kean performed Sir Giles 
seventeen nights before the 9 th of March. 

Of later years, Booth and Brooke have both per- 
formed this part with marked vigor, and though both 
lacked voice, their impersonations have commanded the 
admiration of those who remember the performances of 
Cooke and Kean. Booth excelled in the scene where 
Sir Giles communicates to Lovel his ambitious aspira- 



134 RECORD OF THE BOSTON STAGE. 

tions, and his desire to have his daughter right honora- 
ble Brooke was truly great in the last scene, which 

is regarded, we believe, by all, as the finest display of 
histrionic genius witnessed in modern times upon the 
Boston stage: 

The regular season at the Boston Theatre commenced 
on the 2 8 1 1 i of September. The prices of admission 
were, boxes, si ; green boxes, 7~> cents ; pit, 50 cent-; 
gallery, 37 1-2 cents. Among the new comers were 
Mr. Warring, from England, Mr. Spiller, and Mrs. 
"Wheatlcy, from London and Bath, Mr. and Mrs. 
Chas. Young, from New York. In the early days of 
the theatre, every public event of sufficient importance 
was immediately dramatized, and during the progress 
of the war, the spirit was kept up by the frequent pro- 
j duction of pieces in honor of our naval victories. On the 
; 19th of August the capture of the British frigate 
Gucrriere, under the command of Captain Dacres, by 
the American frigate Constitution, commanded by 
Captain Hull, took place off the Grand Bank of New- 
foundland. Intelligence of the result reached Boston 
in the evening, during one of Cooper's engagements. 
Although a Briton born, Mr. Cooper rejoiced in the 
success of his adopted country, and suggested to the 
manager that the audience should be informed of the 
victory. Mr. Powell, who was a naturalized citizen, 
announced the capture to the audience. There was a 
perfect hurricane of enthusiasm ; the National Air was 
called for and repeated again and again amid prolonged 
applause. The news was received by the public with 
every manifestation of delight, and on the 2d of Octo- 
ber, a patriotic effusion, entitled "the Constitution and 



RECORD OF THE BOSTON STAGE. 135 

Guerriere " was brought out at the theatre. The 
principal characters were sustained by Messrs. Dick- 
son, Entwistle, Drake, Roberston, Spiller, Young, War- 
ring, Miss Dellinger, etc. In the course of the enter- 
tainment the following sdlnery, incidents, etc., occurred : 

Scene 1st. State street. Huzza for the Constitu- 
tion. Scene 3d. Cabin of the ship. Song, A Cruis- 
ing iveivill go. Duett, Conquer, or die. The Guerriere 
is seen through the cabin window under sail — orders are 
given to clear the ship for action, and scene changes to a 
view of the ocean. The Guerriere is seen under easy 
sail and the Constitution in chase. The action com- 
mences — the mizzenmast of the Guerriere goes by 
the board — the action continues and the Guerriere 
loses her foremast and mainmast — fires a gun to the 
leeward and surrenders to the Constitution. Scene 
last. State street. American officers, sailors, and 
marines enter with American colors, and the piece 
concluded with a song and chorus, called the " Good 
Ship Columbia." 

After an absence of ten years, half of which had 
been spent in England, the celebrated Mrs. Whitlock 
reappeared, opening as Isabella. She performed eight 
nights, and received $581.43. During her absence- 
she had ample opportunity of constant critical scrutiny,, 
and returned much improved as an actress. Mr. Whit- 
lock also appeared. He was thought to be one of the- 
best actors in America in his particular line, the father 
in tragedy and serious comedy. 

On the 2d of January, Mr. Holman, with his daugh- 
ter, Miss Holman, afterwards Mrs. Gilfert, appeared. 
They had been performing in New York and Phila- 



13G RECORD OF THE BOSTON STAGE. 

delphia with great success. Miss Ilolman made her 
first appearance on the following Wednesday as Lady 
Toiadey, in which she was eminently successful. She 
also played Belvidera to her father's Jaffier, and Calisia, 
in the " Fair Penitent," to her*father's Horatio. 

Mr. Joseph G. Ilolman was of very respectable 
family, having descended from Sir John Ilolman, 
Baronet. He received the rudiments of his education 
under Dr. Barrow, London, who in order to improve 
his pupils in oratory, had theatrical exhibitions during 
the Christmas holidays. In the year 1778, at one of 
these private theatrical entertainments, which have ever 
been fruitful in developing histrionic talent, young Hoff- 
man performed the part of Hamlet, and was so success- 
ful that soon after he embraced the profession, though 
intended for the Church. He made his first appear- 
ance on the public stage in the character of Romeo at 
Covent Garden Theatre, in 1784. His debut was not 
remarkable. He possessed a fair share of talents, noth- 
ing more, but aware of his imperfections, he studied 
hard to amend them, and rose rapidly to the first rank 
as a tragedian. He afterwards visited Dublin and 
Edinburgh, and met with but partial success. In 1798, 
he married the youngest daughter of the Hon. and 
.Rev. Frederick Hamilton, who died in 1810. 

He returned to London in 1812, and appeared at the 
Summer Theatre, in the Haymarket, several nights, in 
Jaffier to his daughter's Belvidera. He was also at the 
same time engaging performers for the theatre at 
Charleston, which proved an unprofitable speculation, 
and there he took the prevalent fever. He returned to 
.New York and died at Rockaway, Long Island, of 



RECORD OF THE BOSTON STAGE. 137 

apoplexy, on the 24th of August, 1817, in his fifty-third 
year. Mr. Holman married Miss Lattimer two days 
previous to his death. 

Mr. Holman possessed a considerable transatlantic 
reputation, having maintained a powerful rivalship with 
Kemble, and there were critics who pronounced him 
even superior to that great actor, in Hamlet, in which 
part he opened in Boston. He was distinguished as a 
gentleman and a scholar, having contributed to the 
dramatic literature of the day, and by the urbanity of 
his manners and force of his talents, greatly exalted the 
character of his profession. While in America he 
attempted to enlarge the dramatic taste in Albany, but 
like others who have attempted the same fruitless task, 
the city even now (1852) boasting only an apology for 
a theatre, he reaped but meagre pecuniary reward. 
The father and daughter performed eighteen nights to 
genteel and fashionable houses in this city, and received 
for their joint services $2,150. 

The principal of Mr. Holman's w^tings for the stage 
were "Abroad and at Home," "The Eed Cross 
Knights," "'The Votary of Wealth," "What a Blun- 
der," " Love gives the Alarm," and the " Gazette 
Extraordinary." 

Mr. Cooper made his annual visit and opened in 
Macbeth to $534.50 ; he acted ten nights. The theatre 
was, as usual during his engagement, well attended. 
He received for his services $1,878.62. The theatre 
was closed during the season, to give time for the pre- 
paration of " Timour the Tartar," which was performed 
on the 15th of March to $779.12, and was acted six 
successive nights to good houses, and occasionally during 



138 EECOED OF THE BOSTON STAGE. 

the rest of the season. Mr. Dwyer made an engage- 
ment for six nights, but failed in attraction. 

On the 9th of April, the crew of the United Slates 
Frigate Constitution attended the theatre, on which oc- 
casion it was brilliantly illuminated. 

During the summer of 1813, the unfortunate engage- 
ment between the Chesapeake and Shannon, which oc- 
curred June 1st, occupied the attention of the citizens, 
to the exclusion of all other matters. 

The proprietors of the theatre gave the interior of 
the building a refitting. The entire front of the stage, 
pilasters, balconies, etc., were newly painted and richly 
ornamented. On the outside of the green curtain was 
a full length figure of the " Tragic Muse," and on the 
Other side of the stage the " Comic Muse" was seen. 
Shortly after the opening of the theatre, which occurred 
on the 4th of October, 1813, on which occasion we 
notice the accession of Mr. McFarland, an able delinea- 
tor of Irish character, Mr. Hughes, Mr. Stockwell, 
father to the pres§nt scenic artist, Sam. B. Stockwell, 
another piece in commemoration of a naval victory was 
celebrated at the theatre by the production of a play 
called " Heroes of the Lake, or the Glorious Tenth of 
September," written to commemorate the brilliant vic- 
tory of the youthful Perry, who then only twenty-eight 
years of age, had achieved the famous victory on Lake 
Erie, memorable in our annals, and associated in our 
recollections with his laconic announcement to General 
Harrison, " TVe have met the enemy, and they are 
ours." The piece had a temporary popularity, and 
fully answered the ends for which it was written. It 
was in December of this year that the third great fire, 



KECORD OF THE BOSTON STAGE. 139 

which had occurred within eleven year?, destroying 
almost the town of Portsmouth, N. H., took place. The 
ground burnt over was nearly fifteen acres in extent, 
and over a hundred dwelling-houses, sixty-four public 
buildings besides shops, etc., were destroyed. Aid in 
extinguishing the fire was even rendered by residents 
of Newburyport. The managers of the Boston Thea- , 
tre, with their customary generosity, at once offered a 
benefit to help the sufferers, which resulted in obtain- 
ing the handsome sum of $632.00. After a short 
season, during which Cooper and Mr. and Miss Holman 
re-appeared, the theatre closed, but re-opened again on 
the 9th of May, when Commodore Perry, the hero of 
Lake Erie, visited the city, and an appropriate perform- 
ance was given, consisting of the " Sailor's Daughter," 
(Cumberlands's comedy,) " Naval Fete," " Patriotic 
Songs," etc. It was on the occasion of Perry's visit to 
Boston, that the citizens tendered- him a public dinner. 
He was escorted to the hall by the Rangers, Winslow 
Blues, New England Guards, and Boston Light Infan- 
try, commanded respectively by Capts. Rice, Parker, 
and Sullivan, and Lieut. King, ail under the command 
of Col. Sargent of the B. L. I. At the dinner, ocles, 
written by Charles Sprague, John Lathrop, Jr., and 
John Pierpoint, were delivered. Commodore Perry 
was shown every civility, and a handsome service of 
plate was presented to him. 

In March, 1814, Alexander Eustapheve, Esq., pro- \ 
duced his play of " Aiexis," which was well received 
and performed three nights, the last being for the 
author's benefit. Mrs. Powell and Mrs. Darley sus- 
tained the principal female characters. 



140 BECOBD or Tin: BOSTON STAGE. 

The season of 1814-15 was not remarkable for any 

very noted feature. Mr. McKenzie, .Air. and Mrs. 
Bray, Mr. Savage, Mr. W.Jones, and Mr. Fennel], Jr., 
were among the new performers. Mr. McKenzie, a 
Scotchman by birth, was a very good actor in heavy 
tragedy. Michael Ducis in " Adelgitha," and similar 
characters were suited to his talent. Like many others, 
lie was too fond of putting an enemy into his mouth, 
and was more than once discharged for indulging in 
this vice. Confined to his room, owing to his indul- 
gence, he sent for a physician, who seeing his condition, 
wrote as a receipt, " Water — use it freely." McKen- 
zie, glancing at it, exclaimed, u Why, Doctor, water 
will be the death of me," and sure enough it was, for 
the last that was seen of him alive, was walking towards 
the Back Bay, where his body was found after he had 
been missing several day. The theatre was beautifully 
fitted up, and was pronounced superior to any theatre 
in the United States. The treaty of peace, at Ghent, 
made on the 24th of December, 1814, and ratified by 
the President on the 18th of February, 1815, was cele- 
brated in Boston on the 22d of the same month. At 
the theatre the stage was elegantly decorated with 
transparencies, emblems, mottoes, etc. Songs were sung 
commemorating the event, among which was " Wreaths 
for the Chieftain we Honor," written by L. M. Sargent, 
Esq., the music composed by Mr. Bray. A triple 
Allemande with flags, then a popular dance, was given 
by Mr. Jones, Mrs. Bray, and Miss Stock well. The 
latter lady will be better known when we mention 
that Miss Stock well is now Mrs. George II. Barrett, 



RECORD OF THE BOSTON STAGE. 141 

who has delighted the audiences at the Museum and 
National Theatre of late years. v 

On Easter Monday, in 1815, " The Ethiop, or the 
Child of the Desert," was brought out for the first 
time. The scenic artist, Worrall, had exerted himself, 
and produced some scenes which, from the description, 
we doubt if they have been equalled in our city. The 
play had a good run, and gave way to Mr. Bibby, an 
amateur actor from New York, where he had been suc- 
cessful in acting imitations of Cooke, to such a degree 
of perfection, that it was difficult to believe the great 
actor was not on the stage. His Richard was admi- 
rable. 

The return of the Constitution frigate to Boston, 
called forth another of those productions, which, written 
at short notice, generally filled the treasury. Captain 
Stewart was escorted to his hotel by the Independent 
Boston Fusileers and Winslow Blues, and in the even- 
ing visited the theatre, when " The Sailor's Return, or ] 
Constitution safe in Port," was performed. These 
pieces had little incident, and less connecting plot, but 
consisted of songs and dances, interspersed with patriotic 
dialogues, calculated to thrill the heart of all " true 
Americans." Of course they took well. 



112 RECORD OF THE BOSTON - 



CHAPTER IX. 

Early Circuses. — Pepin & Breschard. — Anecdote. — Mrs. 
teyer. — G I . — Mrs. Moore. — Mrs. Williams. — GuyMsa- 
nering. — Mr. Pelby. — Frederick Brown. — Bilson. — Charles [ncle- 
don. — Several Anecdote- ofhim. — His last Song. — Mr. Phillips. — 
Mrs. PowelL — Early Criticisms. — Puffery, etc., etc. 

In the month of July, 1S15, Mr. J. H. Shaffer 

announced a grand concert at Vauxhall, Washington 
Garden. 

We have not in this record alluded to the various 
circuses, and other minor entertainments which were 
given. The first regular circus of which we find any 
note was established by Me in cV Breschard, in 

Charlestown, in 1809. These persons were French- 
men, and the number and splendor and training of their 
stud, were a perpetual source of admiration and wonder. 
Pepin, the leader, is described as one who was deserv- 
ing of his great name, and the account says : — 

" Whether on foot or on horseback, he showed the 
port of a king. No Pepin of France that ever rode 
into Paris with his doughty Austrasians, could have 
claimed greater homage than our martial equestrian as 
he brought up the rear of his glittering troop, he him- 
self in the costume of a Gallic field-marshal. Pepin 
differed, however, from his royal precursors in one 
great respect — he had rather more brains; and both 
in ruling his state and staving off revolutions, showed 
'a firmness and skill that grander heads might have 



KECOED OF THE BOSTON STAGE. 143 

copied. It is with his dignity, however, that I am 
chiefly concerned ; his sustaining belief in the paramount 
importance of his own noble art, which, as illustrated 
in an occurrence I have already referred to,' I may be 
allowed to append. 

"Pepin on one occasion had sent his troop on to 
Boston for a summer's campaign, he remaining at New 
York to complete other arrangements ; but some mis- 
fortune occurring, which required his presence, he set 
off on horseback to join his confederates. Unluckily, 
however, he reached a town in Connecticut on Saturday 
night, and of course was told he must rest all the fol- 
lowing day. He started at this order, and could only 
ascribe it to the most pitiable ignorance of himself and 
his object. These good people were not aware that he 
was required to reach Boston for the Monday's perform- 
ance ; that the circus could not possibly open without 
him ; to yield, therefore, was not only a wrong to the 
public, but a gross disrespect to his own proper dignity. 
Accordingly, next morning, arrayed in his regimentals, 
he took his horse from the stable, (finding no one else 
would,) and paying his bill, continued his journey. A 
few miles were managed in perfect security, but among 
the buildings he passed, at length towered a meeting- 
house, and the clatter of his gallop drawing the deacons 
to the door, he was summoned to alight in no faltering 
tones ; but the right royal Pepin's was no soul for sub- 
mission. Scarcely viewing the 'Imbeciles,' he only 
answered so far as to wave them away with a calm air 
of contempt. The deacons, enraged, ran at once to 
their steeds, and king Pepin sooij found that these peo- 
ple could ride. Confiding, however, in the power of 



Ill rtECOBD OF THE BOSTON STA I 

his horse, he smiled, as he believed, at their impotent 

fury; but our hero had to learn that it takes much to 

wear out a Connecticut pom ially with a deacon 

and a cudgel above him : and the consequence was, 
that after a pretty sharp chase, his majesty of the saw* 
dust was fairly run down and gripped by a set of as 
resolute muse] 1 the robes of unfortu- 

nate station. He was captured ; but still had an on- 
qonquered send that coverted his fall into a Bpeciei of 
triumph. He succumbed after the style of a Boufflers 
or \ 'illars. Extending his sword to his captors, with a 
graceful -wave of his hat — ' Messieurs/ he exclaimed, 
* La fortune de la guerre — ccst h voire voilaf which 
the deacons replied to with a very natural stare, and a 
'guess we don't want to figbt you, you wild wicked 
crittur — conic back to mcetiif. Upon which, turning 
his horse southward, they led him oil" at full trot, and, 
on reaching the chapel, conducted their prisoner to a 
conspicuous scat, where, whilst the pastor enlarged 
upon the guilt he had committed, king Pepin received 
the fixed stare of the assembly, as their unrestrained 
homage to overthrow dignity ! " 

Equestrian performances had also been given at vari- 
ous other places, at the Washington Gardens, and at 
one of these establishments at the bottom of the Com- 
mon. Mrs. Mestayer, in 1815, astonished the citizens by 
dancing on the wire, she being the first lady that 
trusted herself in this city upon so brittle a foundation. 
Among other exhibitions which received attention from 
their peculiarity, the following notice taken from the 
Gazette of November 30, 1815, gives an account. We 
copy it as it appears : — 



RECORD OF THE BOSTON STAGE. 145 

The Gas-Liglits -which are to be exhibited at the Boylston Museum 
this evening, (Thanksgiving,) -will be an interesting curiosity to those 
-who are unacquainted -with chemistry, as the lights will be burnt 
upwards of one hundred feet from the reservoir which contains the 
gas, without the aid of tallow, oil, or wick. We understand that the 
streets of the city of London are lighted with this gas in various 
directions for upwards of fifteen miles. 

Sucli an announcement cannot fail to cause a smile. 
The editor in assuring his readers that neither " tallow, 
oil, or wick," were used, undoubtedly excited the im- 
agination of his readers. But in those days, the erec- 
tion of gasometers, and the use of gas were not known, 
and the theatres then did not appear as now like so 
many illuminated palaces, but were lighted by oil, and 
dimly lighted at that. It was, we believe, in 1815, 
that Co vent Garden Theatre in London was first 
lighted by gas. 

In 1816, two actresses of merit made their appear- 
ance. Mrs. Moore, formerly Mrs. Woodham, who has 
many descendants, highly respected in society, still 
living in this city, was an interesting actress, and her 
Lady Teazle was an admirable impersonation. The 
second lady was Mrs. Williams from the Theatre 
Royal, Drury Lane, who was a versatile performer, and 
whether considered as an actress, a dancer, or a singer, 
was ranked in the first class. A critic of those days 
thus pays Mrs. Williams a well-turned compliment: 
" She displays the manners of the English drama with 
genuine French vivacity. Thalia presided at her birth, 
and study and art have only been the handmaids of 
nature." 

Mr. McMurtrie also appeared, and the Boston Thea- 
tre held undisputed reign, where (to borrow again from 
10 



14G UIX'ORD OF THE BOSTON STACK. 

a critic) the cautious guardian of female innocence may 
safely conduct his charge to the enjoyment of scenes 
which excite the glow of pleasure that is unmingled 
with the blush of Bhame; and where the rigid moralist 
may acknowledge the injustice of his inhibition of 
those scenes where a Powell and a Moore officiate at 
truth and nature's altar, and adorn it with the garlands 
of taste. 

Trior to the opening of the theatre, in the fall of 
1810, the interior had been refitted. The first night 
was honored by the presence of His Excellency, the 
Governor, Commander-in-Chief, and the (General of 
the Brigades with his Aids. The plays were "He 
Would be a Soldier, or the Captain pro tern," and 
"The Boarding House, or five hours at Brighton." 
On the 0th of October, of this year, a play which still 
holds its place on the catalogue of the acting plays of 
the present day, and which has immortalized at least 
one actress of our own times, was brought out. We 
allude to " Guy Mannering" — Dominie Sampson, Mr. 
Dickson ; Julia Mannering, Mrs. Moore ; Meg Mer- 
rilies, Mrs. Powell. The piece had been popular at 
Co vent Garden, and from the cast, a full house was in 
attendance, composed of the fashion of the town. Mrs. 
Powell as Meg was truly "great," and Dickson's 
Dominie Sampson, says our informant, was " prodi- 
gious." Mrs. Powell made a more classic character of 
it than Miss Cushman does, though at the time some 
there were, who accused her of faults which we have 
seen alleged against Miss Cushman's conception of the 
part. 

During this season Mr. William Pelby was among 



RECORD OF THE BOSTON STAGE. 147 

the stock. He was acting in minor parts, and though 
never a great a&. < r, was afterwards as we shall see, 
closely connected with theatricals in this city, both as a 
manager and actor. Mr. Pelby, we believe, came from 
the western part of New York State. 

Mr. Bernard, after an absence of several years, re- 
appeared, and was warmly welcomed. He continued 
a member of the company several years, and like an 
old oak the more majestic, the more it is beaten by the 
storms of adversity, he appeared more vigorous and 
lively in mental powers, the nearer he approached to 
the declivity of age. Mrs. Mortimer, Mr. Blanchard, 
Mr. Drummond, Mr. Hilson also appeared during this 
season. 

Another actor, who subsequently created some noise 
both here and in Montreal, came out from Liverpool, 
the scene of his greatest triumphs. Mr. Fred. Brown, 
son of D. L. Brown, of high repute as an artist, and 
brother to a lady, who until removed by death, adorned 
for many years a circle of admiring friends in this city, 
made his appearance and performed with Mrs. J. 
Barnes, who had then just come from New York. 
Mrs. Barnes was an actress of great merit. Her Juliet, 
and Mrs. Holler, were excellent performances. Miss 
Johnson, afterwards Mrs. Hilson, appeared about this 
time in the " Child of Nature ; " she was quite pretty, 
but forcibly weak. West's company of Equestrians, 
from London, Edinburgh, New York, and Philadelphia, 
brought out " Timour the Tartar" this year, with great 
success. 

On the 14th of April, 1817, Mr. Dickson took his 
leave of the stage, appearing as Gosey in " Town and 



148 RECORD OF THE BOSTON STAni:. 

Country, or What I call Comfortable." Mr. DiekjOO 
did not, however, retire from the management, but for 
many years continued to direct the affairs of the the- 
atre with that skill and tact which enabled him to meet 

the wishes of the lovers of the drama, and to give .satis- 
faction to members of the profession. 

The season of 1817-18 commenced in October, the 
theatre being under the joint management of Powell, 
Dickson, and Duff, the company comprising Mr. IVr- 
nard, Mr. and Mrs. Drummond, Mr. and Mrs. Wheat- 
ley, Mr. Adamson, (low comedian,) Mr. and Mrs. 
Duff, etc. 

Among the " stars " from across the. ocean, was Mr. 
Incledon, a singer of great merit, who drew well. 

Incledon was rather a vain fellow, and it is related, 
that on one occasion in England, he was dining in com- 
pany with several of the nobility, at the residence of a 
brother actor, and, after the cloth had been removed, 
the Duke of Sussex called on Mr. Price for the song of 
the " Thorn," one of Incledon's favorite pieces. Incle- 
don took great affront, and his indiscretion knew no 
bounds. It was monstrous to call upon another to sing 
the " Thorn " when Charley Incledon was in the room. 
The duke perceived his mortification, and, anxious to 
make amends for his own incautiousness, invited him 
to favor the company with one of his beautiful ballads. 
Incledon, stung to the quick, resolutely declined, alleg- 
ing hoarseness and incapacity. He then turned to his 
host, Mr. R., and, in spite of importunities to the con- 
trary, thus addressed him : " Now, Ned, music, do you 
see, is all a humbug. It 'a all dead and gone ; there's 
nothing now but your Jews, (referring to Braham,) 



RECORD OF THE BOSTON STAGE. 149 

with their ' Love among the Eoses,' and affectation and 
nonsense. Good singing has gone by — it 's dead and 
buried, and fhere 's nothing like it — nothing worthy of 
the name — talent is very rare ; you 're a man of talent, 
and so am I. To tell you the truth, Ned, there never 
were but three who knew any thing about music ; all 
the rest were humbugs." " And who were they ? " 
says Mr. E. " Why, the first," replies Incledon, " was 
the great God above, that made us all ; the second was 
Dr. Jackson, my master of Exeter ; — and the third was 
myself." 

An anecdote is related of Cooke and Incledon. The 
former was one evening very merry at a tavern, when 
Incledon, coming in, was requested by our great trage- 
dian to sing " The Storm," but, it being late, he refused, 
and retired to bed. Irritated at this, Cooke determined 
to be revenged ; and, after musing for a few minutes, 
asked the waiters if they knew the man who had just 
been sitting in the same box with him. They replied, 
it was Mr. Incledon. " No such thing ! " exclaimed 
Cooke ; " 'tis some vile impostor, for he has stolen my 
watch and notes, and I insist on an officer being sent 
for, that we may search him." Eemonstrance was 
fruitless ; so at length the guardian of the night was 
summoned, and they all ascended to Incledon's chamber, 
with Cooke at their head. Incledon, roused from his 
first nap, asked what they wanted. Cooke insisted that 
he was the man who had the notes, at the same time 
observing, " If it is really Incledon, he can sing *' The 
Storm.' Let him do so, and I shall be convinced of my 
error." Incledon now perceiving the drift of the joke, 
without further preface, addressing himself to Cooke, 



150 RECORD OF THE BOSTON ST.\< 

struck up " Cease, rude Boreas ; " and having concluded, 
Cooke acknowledged his identity, and the party left him 

to his repose. 

Another anecdote is related, of which Incledon if I 
party. Pope, the tragedian, had a great love for the 
good things of this life. Amid many other sayings, one 
of his was to the effect that he knew of but one crime 
that a man could commit, and that waa peppering B 
rump-steak. When Incledon returned from America, 
he met his old friend Pope, and, after mutual congratu- 
lations, the latter exclaimed, ""Well, Charles, and how 
do they feed ? " " Immortally," replied Incledon, " the 
very poetry of eating and drinking, my dear Pope, in 
all things but one — they put no oil on their salads." 
" No oil to their salads ! " reiterated the horror-stricken 
tragedian. " "Why did we make peace with them ? " 

Incledon was quite eccentric. On one occasion, he 
and Mathews were travelling, on a very fine summer's 
day, on the outside of a stage-coach, soon after the 
death of Incledon's first wife, to whom he had been 
warmly attached. A very consumptive-looking man 
sat near him, about whom Incledon's humane heart 
made him feel an interest ; and he frequently spoke to 
him, inquired into his history, and found that the poor 
man was going home to his friends to be nursed. 
Incledon, when the coach stopped, addressed the poor 
invalid, for the last time, as follows : " My good man, 
we 're going to leave you. It 's my opinion, my poor 
fellow, that you 're bespoke ; you 're now, I take it, as 
good as ready money to the undertaker. In fact, you 're 
boohed; so there's a seven-shilling piece for you, my 
good man ; — and, if you see my dear, sainted Jane, 



KECuRD OF THE BOSTON STAGE. 151 

pray tell her you saw me, and that I'm well ! " The 
poor creature stared, and took the money with an 
humble bow, but made no reply to this extraordinary 
address, which he . doubtless supposed to come from a 
lunatic. 

The last song Incledon ever sang was in the kitchen 
of a country tavern in England. He had attended the 
glee club, but declined singing, and left the room rather 
depressed in spirits, and, accidentally on his way out, 
strolled into the kitchen, where, recovering his spirits, 
and gathering the servants around, he sang them the 
" Farewell, my trim-built Wherry ! " in his usual 
brilliant style ; scarcely had he finished it, however, 
when he relapsed into his previous gloom, quitted the 
house, and not many days after died. 

We have not alluded to every appearance of Mr. 
Cooper, in these articles. For many years he paid 
Boston annual visits, and was always greeted with good 
houses. In 1818, he played a most excellent engage- 
ment, and his Hamlet to Mrs. Wheatley's Ophelia was 
never done better. For ten nights he received $2120.75. 
Mr. Bray also made quite a part out of the Grave- 
Digger. 

Early in 1818, Mr. Phillips, a vocal performer, made 
his debut before a Boston audience, in the " Devil's 
Bridge." Our citizens had not then become very 
familiar with the lyric drama, and were pleased with. 
Phillips, whose chief excellence did not consist in the- 
tone or compass of his voice, so much as his skilful 
management of it. 

An anecdote is related of Phillips, that when in this 
city, on the first night of his engagement, after he had 



152 KIXORD OF TIIE BOSTON S'iAli.. 

executed two or three songs, apparently to the satisfac- 
tion, tliougli not much to the astonishment, of the audi- 
ence, lie addressed a note to some of his musical friends 
in the boxes, informing them, that he was displeased 
with his reception; that he was accustomed to be 
encored wherever he went, and that, unless a more 
general degree of applause was bestowed upon him, he 
should be unable to acquit himself to the approbation 
of the public. During the song- which succeeded, Mr. 
Phillips had no reason to complain for want of en- 
comium, lie received in this city for eleveu nights 
about $250p. Mr. Phillips was killed on the 27th of 
October, 1841, in England, by a railroad accident on 
the Grand Junction Railroad. 

The annual benefits of the actors, in those days, were 
in reality benefits. That of Mrs. Powell was always 
honored by a full house, and so highly was die esteemed; 
that the following, on the occasion of her benefit, taken 
from the newspapers of the day, only expresses the 
truth : " Mrs. Powell has been with us even from her 
childish days. She has been fostered by the smiles of 
our fathers, and is the companion of our sisters and our 
wives. She is an ornament to society, and her charac- 
ter is an illustration of the maxim of Solomon, that 
x a virtuous woman is a crown to her husband.' " 

We have before alluded to this lady as an actress, 
but equally in the home circle was she noted for those 
admirable qualities of heart, which rendered her an 
exemplary mother and friend. Her benefits often 
amounted to SI 000, so highly was she esteemed. 

The severity with which the press formerly alluded 
to actors deficient in their parts, or devoid of histrionic 



RECORD OF THE BOSTON STAGE. 153 

talent, will strike any, who look through the journals, 
with astonishment. The writers upon theatricals in 
1818 well understood — if we can judge from the fol- 
lowing abstract — that fulsome praise was an injury 
to the stage and to the profession ; that the lash well 
applied was, in fact, required to correct abuses, and to 
give to actors a healthy stimulus to praiseworthy exer- 
tion. They did not then call over the stock-roll, and 
exhaust the vocabulary of laudatory words and phrases, 
but tinctured their remarks with discretion. The fol- 
lowing is perhaps a shade too bitter, but still it 's far 
better than the puffs which now issue from the " box- 
office," and are paid for at so much the line : — 

" To Mr. Harding ' from the English theatres,' who 
made his first appearance in ' Henry,' we have a word 
or two to say — not in malice, but in kindness. He is 
advised to apply immediately at the intelligence office, 
or consult the advertising papers for some employment. 
In such a town as this, where occupations are so 
numerous, the calls for labor so frequent, and the 
compensation so liberal, he can certainly turn his hand 
to something more honorable and profitable to himself, 
and less offensive to others, than that which he has 
chosen. If, however, having rubbed his back against 
the scenes, it is condemned to itch forever after, we 
beseech him, if he is movable, to remove hence, and 
return to the ' English theatres ; ' where having arrived, 
let him speak of us as we are. * * * The audience 
which endured him for a whole evening, can never be 
requested to give any further of their kindness to 
inexperience and awkwardness, ignorance and folly." 

" Aladdin, or the Wonderful Lamp," was brought 



154 i:r.< OBD 01 THE BOB I OS BT L< 

out towards the do e of the season ; the Bcen< ry of the 
piece was new and Bplendid. J. II. Payne's •■ Ace 
lion" was also produced. A detachment of tin- com- 
pany wi'iit to Portsmouth, X. II., during the summer 

-'>Q. 



CHAPTER X. 

The Season of 1818-19. — First appearance <.f Mr. James W. Wallack 
in Boston. — A Sketch of his Life. — Mr. ami Mrs. Hartley. — Their 
troul'U- in Connecticut. — Anecdote • fley. — Mr. John 

X. Barnard. — Dykes.— Cooper. — II T. 

. — Philo-Dramatic Society. — In- 
troduction 

Tin: ><a-on of 1818-19 commenced in September, 
under flattering aospices. The "Honeymoon" and 
the "Bee Hive" were the opening in which 

Mrs. Powell, Air. Duff. Mr. 'and Mrs. Green, Mr. 
Bray, Mrs. Barnes, Mr. and Mrs. Williams, and Mr. 
Arthur Keen, the vocalist, appeared. A new drop- 
curtain, painted by Worrall, giving a view of Boston, 
taken from South Boston Bridge, was much admired. 
The Exchange Coffee House was destroyed by lire on 
the evening of November 3, this year, and one or two 
of the actors suffered by loss of wardrobe, etc. 

On the 30th of November, Mr. James W. Wallack 
opened as Bolla. His London reputation was consid- 
erable, and New York had endorsed him. He played 
Hamlet, Coriolanus, Richard, etc. There was a differ- 
ence of opinion respecting his talents. He Avas too 



RECORD OF THE BOSTON STAGE. 155 

melodramatic to please those who remembered Hodg- 
kinson, Cooper, and Cooke, and the critics asserted that 
he wanted both simplicity and nature, though his Hamlet 
was favorably received. TVallack was, however, popu- 
lar both on the stage and off, and he was honored by 
full houses. 

Mr. Wallack was born at Hercules Buildings, Lam- 
beth, (London,) on the 24th of August, 1794. His 
parents intended him for the navy, and at an early age 
he received his appointment as midshipman ; but, irre- 
sistibly attracted by the profession of which his father 
had been a distinguished member, he soon renounced 
the " cocked hat and dirk," and became one of a num- 
ber of young aspirants, called " The Academicals." It 
was during one of their performances that the great 
Richard Brinsley Sheridan was struck with the promise 
displayed in the impersonation of young Wallack, and, 
in consequence, procured for him, at the age of twelve, 
an engagement at Drury Lane Theatre, where, for 
some years after, his precocious talents continued to be 
remarked and appreciated. He was but eighteen when 
we find him playing Laertes to EHiston's Hamlet. This 
was on the occasion of the opening of the new Theatre 
Royal, Drury Lane, the old theatre having been com- 
pletely destroyed by fire. From this period he con- 
tinued a member of the Drury Company, playing, with 
Edmund Kean, Macduff, Edgar, Richmond, Iago, etc.; 
a position of responsibility which, in such an establish- 
ment, at so early an age, we believe to be unparalleled. 
His marriage with the daughter of the celebrated Mr. 
John Johnstone, better known as " Irish Johnstone," 
took place in 1817, and his departure, on his first visit 



15G RECORD OF TIIE BOSTON BTA.OB. 

to the United States, followed immediately. He made 
his first appearance in New York, in "Macbeth," at the 
old Park Theatre, to a house crowded to the ceiling, and 
his SUC© IStantaneOUS and decided. In 1819 

his eldest son. Mr. Lester Wallack, was bora, and may 
thus be said to be the first comedian introduced by his 
fathi w York. Mr. Wallack returned to E 

land early in 1820, and appeared at Drury Lam 
Hamlet, Macbeth, Othello, etc. In L822 he again visited 
America, and played a most brilliant engagement in 

v York. Thence he departed for Philadelphia, and 
during that journey it was that, by the breaking down 
of the stage, a compound fracture of the leg incapaci- 
tated him for business for the Bpace of eighteen months. 
When he had sufficiently recovered from this terrible 

>k to his labors and his triumphs, he again departed 
for England, leaving his wardrobe in New York, hav- 
ing determined to act nowhere after his accident, until 
his reappearance in America. When he did make his 
bow at the Park Theatre, some short time afterwards, 
it was in the character of Captain Bertram, an old 
sailor on crutches. The large audience assembled to 
give him welcome, though delighted as usual at the 
beauty of the acting, felt a mixed sensation of regret to 
think that the favorite artist w r as forever deprived of 
the free use of his limbs. The expression of surprise 
and enthusiasm may be imagined, when, in the second 
piece — " My Aunt " — he stepped upon the stage as 
Dick Dashcdl, with the elasticity and firmness of tread 
that had been wont to distinguish him during his earliest 
engagements. Since then, Mr. Wallack has been a 
constant and welcome visitor to our shores, and his 



RECORD OF THE BOSTON STAGE 157 

popularity would seem to increase with each succeeding 
visit. In Boston, he has ever been a most especial 
favorite, no better proof of which could be adduced than 
the fact, that when he played here, some six years ago, 
it was the fourth engagement in eleven months, each 
one of which was most brilliant and successful. Mr. 
Wallack, in 1852, became manager of what was for- 
merly the Lyceum Theatre, New York. His own 
reappearance, with all the pristine vigor of former 
years, has been a triumph of the most flattering nature, 
and his theatre is in the full tide of successful opera- 
tion. 

Wallack was succeeded by Mr. and Mrs. Bartley, 
who came out from Liverpool in the preceding Novem- 
ber, and had met in the southern cities with great sup- 
port. The Bostonians, however, even forty years ago, 
were not disposed to accept, as up to standard value, 
every coin bearing the impression of New York critics, 
and Mr. and Mrs. Bartley were not so well received 
here as elsewhere. They had the mortification of play- 
ing to very fashionable and thin houses, and they were 
feted by the most wealthy and intelligent of our citizens. 
Mr. Bartley was a native of Bath, England. He made 
his debut as the Page in the " Purse." He gradually 
acquired confidence, and the summer of 1800 found 
him at Margate, then the grand resort of the English 
nobility. While performing there, the celebrated Mrs, 
Jordan went from London, where she commenced her 
performances with Rosalind, and was so much struck 
with Mr. Bartley's Orlando, that, at the conclusion of 
one of his speeches, she exclaimed " Bravo ! " loud 
enough to be heard by the audience. That "bravo" 



158 ItKCORD OF THE BOSTON STAGE. 

was tlic first stone of his future fame in England, for 

shortly after be was called to London, through Mi. 
Jordan's influence, and appeared at Drury Lane as 
Richard III., Sir Anthony Absolute, Shylock, and other 
leading parts both in tragedy and comedy. In 1814 
lie married Miss Smith, considered in England, both 
before and after her return to England, an actress of 
considerable ability in tragedy. After having acquired 
celebrity in the provincial theatres, she was engaged to 
appear at Covent Garden, London. She was engaged, 
says her biographer, at eighteen pounds per week for 
the first season, nineteen for the second, and twenty for 
the third. After the managers had made the engage- 
ment, they seem to have recollected that Mrs. Siddons 
belonged to their company ; and as it would be rather 
ridiculous to have two Lady Macbeths on one evening, 
and the part being in the possession of Mrs. Siddons 
would preclude Miss Smith from playing it at all, 
whether she had merit or not, they soon made the 
discovery that Miss Smith must play subordinate 
characters or receive her salary for doing nothing. 
Accordingly, when her first appearance came to be 
talked of, and she fully expected to be brought out in 
some first-rate tragic heroine, she was informed she 
must make her debut in Lady Townley in the comedy 
of " The Provoked Husband : " to this, however, she 
decidedly objected, as it gave no scope for the display 
of tragic powers. She at length agreed to perform the 
character, on condition of being allowed to recite 
Collins' " Ode on the Passions " between the play and 
the farce. This met its objection in turn ; Mr. John 
Kemble, the then acting manager, declared it impossi- 



RECORD OF THE BOSTON STAGE. 159 

ble ; it was so irregular, it could not be thought of; but 
Miss Smith had too much regard for her own fame, to 
suffer herself to be talked out of what was rational, by 
people who could understand infinitely better the fitting 
of a harlequin's jacket than the engagement of a tragic 
actress, and refused to play without it. The comedy 
passed off languidly, with but little applause, but the 
Ode fully redeemed any unfavorable opinions the 
audience might have hitherto formed of Miss Smith. 

It was not until recently that the " blue law " of 
Connecticut against theatres and circuses was repealed. 
Mr. and Mrs. Bartley had a practical example of its 
workings, when in this country. It happened as they 
were going their first journey from New York to Bos- 
ton, that they halted to breakfast at the principal hotel 
in Hartford. It was soon known that they were in the 
city, and, before Mr. Bartley had finished his meal, the 
landlord informed him, that several gentlemen were in 
an adjoining room, and requested to speak with him. 
Mr. Bartley waited upon them, and they explained to 
him, that the fame which had attended Mrs. Bartley in 
New York made them most anxious to have an oppor- 
tunity of witnessing her talents in Hartford ; that they 
had no theatre, but a tolerably large assembly-room, 
which they would fill, if she would engage to give 
readings or recitations. It was soon agreed that she 
should do so, on her return from Boston. The night 
was fixed, and the room crowded to excess. Her read- 
ings from Milton and Shakspeare were highly approved, 
and she promised to repeat them, on her way to Boston, 
at her next visit. The inhabitants of Hartford apprised 
themselves of the period of her next engagement at 






ICO record of Tin: ,r.. 

Boston, and wrote to Mr. Bartley, requesting liim to 
add his quota to tl. entertainment 

at Hartford. Thi I to; but no Booner 

the announcement made, than tlic rigid and puritanical 
part of the communis an outcry against ti 

repeated innovations, and Mr. Ebenezer Huntington, 
(tlie attorney-general of the State,) resolved to put into 
cation a dormant act of the legislature, against the 
performances. In the meantime, Mr. and Mr. Bartley 
(wholly unconscious of what had been threatened) ar- 
rived, and were received as warmly as ever. The 
hour of performance having approached, the room was 
again crowded, and all was on the eve of commence- 
ment, when a lett to the landlord of the 
hotel in which tl.- ly-room was situated, came 
from Ebenezer Huntington, stating that if Mr. and 
proceeded in their unlawful practices, he 
would prosecute them under the existing law of the 
State. The contents of this letter were concealed from 
Mr. Bartley, and the performance went off with great 
eclat. 

Shortly after Mr. and Mrs. Bartley had retired to 
rest that night, the myrmidons of Ebenezer came with 
a writ, to serve it on the unconscious offenders. The 
singularity of the proceedings, together with the indel- 
icacy of selecting the hour of midnight as the proper 
period for the execution of the process, aroused the 
indignation of several gentlemen, who were still in the 
hotel, and they gave their personal securities to pro- 
duce Mr. Bartley the next day, or to answer the con- 
sequences, at the same time depositing five hundred 
dollars to meet the expenses of the suit. A tremendous 



RECORD OF THE BOSTON STAGE. 161 

fall of snow rendered the roads impassable on the fol- 
lowing day, and Mr. and Mrs. Bartley were conse- 
quently detained. Still tne whole transaction was 
carefully kept from their knowledge ; but some legal 
persons, who interested themselves greatly in* the mat- 
ter, and differing as to the construction of the law from 
the attorney-general, put the question in a train of 
judicial hearing, and were adventurous enough to invite 
Mr. and Mrs. Bartley to repeat the entertainments 
that evening, as the weather was so unfavorable to the 
prosecution of their journey to Boston. They were 
still unconscious of what had happened ; and it was 
not until after some grave argumentation in a court of 
justice, and a decision favorable to the accused, that 
Mrs. Bartley was made acquainted with all that had 
occurred, by the gentlemen who had so spiritedly 
defended the prosecution, at their own risk. 

Mrs. Bartley and her husband, prior to their return 
to England, gave readings at Concert Hall, in this city, 
and also appeared at the theatre, but with poor success. 
Mr. Bartley is still living, and has, within a few years, 
given readings before Queen Victoria. His final 
retirement from the stage took place in February, 
1853. 

Mrs. Bartley's talents, even in her own opinion, were 
not duly appreciated in this city ; and, mortified that 
with her great talents, great person, and great voice, 
she could not obtain the favor of the public, remarked, 
in the green-room, that as turkeys were so abundant, 
the American standard should be changed, and a turkey 
substituted for the eagle. Mrs. Powell dryly replied, 
that, by the same rule, the British lion should give 
11 



1G2 tSOOBD OK TIIK BOSTON STAGK. 

place to a donkey, as asses were the most numerous 
clad of animals in Great Britain. 

.Mrs. Powell's benefit took place in April, when Mr. 
Dickson reappeared, — his last performance but one on 
the stage. 

In the summer of this year, a new brick amphitheatre 
was opened at the Washington Gardens. Mr. Bernard 
was the director, and Mr. Betterton, Mr. Jones, and 
Mrs. Whcatley, were the principal performers. The 
entertainment comprised songs, addresses, and recita- 
tions, and short vaudevilles were given. After this 
season, Mr. Bernard returned to England, where he 
died on the 29th of November, 1828, in very reduced 
circumstances. 

The regular season commenced in October, when 
Mrs. Young made her debut as J//.\\v Elanford. She 
had been performing in Canada. Her face and figure 
were interesting, and her performances characterized 
by much vivacity and archness. Mr. Dykes, who 
married Miss Brailsford, of this city, was a member of 
the company this year, and also Mr. and Mrs. Fred. 
Brown. Among the most notable plays brought for- 
ward, was that of " Brutus," by John Howard Payne. 
Brutus, Brown ; Titus, Williams, an actor of unwearied 
industry, who dressed well, and succeeded in obtaining 
the approbation of the public. Master Edward and 
Miss Caroline Clark, two liliputian singers, served to 
fill up the interlude between the farces. Wallack again 
appeared this season, and was shortly after followed by 
Cooper — his superior as an actor — but who, from the 
frequency of his visits, had become too well known ; 
and coming as he did so soon after "Wallack, who being 



RECORD OF THE BOSTON STAGE. 163 

of late importation it was more fashionable to admire, 
the houses were so slim, that the engagement 'was 
mortifying to himself and friends. 

The season was varied by a little episode, not un- 
usual in the history of the drama, in which the press 
and the stage figured. Mr. Fred. Brown was not 
inclined to play second to either Cooper or Wallack, 
and he, therefore, during the engagement of these 
gentlemen, absented himself, and on other occasions, 
when cast to what he considered an inferior part, 
walked through it with perfect indifference. The 
audience hissed him, and determined that he should 
play what he was wanted for ; and from little the 
matter grew till it assumed a serious appearance. Mr. 
J. T. Buckingham had accused Brown of using expres- 
sions disrespectful to a Boston audience, and, on the 
evening of December 3d, the editor was confronted 
with the actor, and' the result was such that the 
managers, fearful of a row, allowed Mr. Brown to 
depart for Montreal. Mr. Buckingham stated the case 
in the Galaxy, in which he gave his opponent a severe 
drubbing. 

Early in 1820, Mrs. Barnes played Hamlet, and 
played it well too. A wicked wag contributed the 
following to a paper: — 

ON MRS. BARNES' " HAMLET." 

Strange, Mrs. Barnes so much bewitches, 
Because, forsooth, she wears the breeches ; 
Strange, that so many husbands roam 
To see — what they endure at home. 

There are many who recollect Mr. George Manners, 
the English consul at this port. It was during the 






1G-1 RECORD OF TIIE BOSTON STAGE. 

year that lie brought out a comedy, called " Reforma- 
tion," which was successful. Mr. Manners was of the 

school of "fine old English gentlemen." He wa> 
consul at the port of Boston from 1817 until 1835, 
when he removed to Canada, and devoted himself to 
agricultural pursuits till his death, which occurred at 
Coburg, Canada West, on the 18th of February, 1853. 
The year is farther notable, from the fact, that it was 
the first upon which 'performances were given five 
• venings in the week, at the Old Theatre. Another 
innovation was also made this year — that of giving 
theatrical entertainments on Thanksgiving evening. 
The managers did not Wke this step without due con- 
sideration. They thought that after the divine services 
of ihc (la;/ wore over, there was no impropriety in glad- 
dening the hearts of many, who had no social firesides 
to gather round, though the theatre was invariably, 
closed on fast days. 

In the summer of this year, a society, composed of 
young men, organized the Philo Dramatic Society, and 
gave occasional entertainments at the Amphitheatre, 
Washington Garden. The primary purposes of the 
society were improvement in declamation, reading, and 
recitation, the expenses being defrayed by an annual 
assessment. No professional actor was permitted to 
take any part in the performances. Of the origin of 
this society, John Preston, Esq., gives us the following 
account : — " The first idea originated with James Elli- 
son, who resided in South street, and was first book- 
keeper in the Boston Bank at that time. Mr. Ellison 
did not like to be active in the concern for two reasons ; 



RECORD OF THE BOSTON STAGE. 165 

he had a large family, and was connected with a finan- 
cial institution ; but he gave us the benefit of his 
services as a more than clever poet. He was a 
remarkably strong lover of the drama, and his able 
criticisms on theatricals can be found in the Boston 
Gazette of that day, which at the time was partly 
under the control of John Russell. Mr. Ellison was 
the author of a number of successful dramatic pieces 
that were all in print at that time. I, at this moment, 
recollect only one by its title ; it was ; The Siege of 
Tripoli.' I remember seeing Duff play Aben Hamet, 
the principal character in it ; of this I am not very 
certain however. Ellison had drawn this Aben Harriet 
to represent Napoleon as a tyrant. He furnished us 
almost every night we played, with an original prologue 
or epilogue. He asked me to name the idea of getting 
up a " Philo Dramatic Society " to Josiah Spurr, 
Thayer, Charles Kupfer, Whittaker, and probably others 
that I do not now remember. I did so. They all 
agreed to be present, provided a meeting of that kind 
should be called. Kupfer and myself put in the first 
advertisement, I think in the Evening Gazette, calling 
that meeting. It was more fully attended than we had 
expected ; but they all wanted to be paying members, 
not active. Mr. Ellison was there, but declined taking 
any office, although he was more potentially influential 
to the society than all its officers combined. "We made 
J. T. Buckingham, president ; Whittaker, vice presi- 
dent; and Spurr, secretary. Mr. Thayer, who subse- 
quently became a professional actor, was the most active 
member." 



ICC RECORD OF THE BOSTON STAGE. 

The amphitheatre was so arranged that it could be 
used for a circus. A rhymer thus alluded to the 
gardens, in 1819 : — 

" Bostonians are charmed with various feat-, 
At John II. Shatter's splendid garden treats, 
Where West is manager, and justly draws 
A host of auditors and great applause, 
By showing Yeomen riding upside down, 
Where Godean proved the wonder of the town, 
Where * ** * is retailed by the single glnan. 
And Doctor Preston gave his Oxide Class." 

The "Bride of Abydos" was produced. It was a 
dull and tedious play, and the only redeeming feature 
was the brilliant and expensive scenery. The reap- 
pearance on the Boston stage of Mrs. Drummond, 
(.Airs. Barrett,) who had much improved during her 
absence south, was noticed in congratulatory terms by 
the Press. She. was a most fascinating actress. Cooper 
appeared again this season, and brought out " Virginius." 
The season, however, was not a successful one to the 
managers. Duff, Brown, and Bray put fortli their 
strength in vain. Cooper became " as a guest, who 
tarries too long ; " and camels from Arabia, introduced 
in "Blue Beard," though powerful attractions, did not 
draw. 



RECOKD OF THE BOSTON STAGE. 167 



CHAPTER XI. 

A Sketch of the Life of Edmund Kean. — His Early Days. — First 
Appearance on the Stage. — Miss Tisdale. — His Performances in 
the Eing. — Anecdotes. — Appearance in London. — Marriage. — 
Leo, or the Gipsy. — His Family. — Kean — and Arnold. — Charles 
Kean, etc., etc. 

The year 1820 witnessed the arrival on our shores 
of a great actor, one ripe in his powers, and in the 
very heyday of his prosperity — Edmund Kean — who 
was born November 4, 1787. The parentage of this 
eminent actor is involved in som-e degree of mystery. 
He himself, at one time, affected to believe that the old 
Duke of Norfolk knew more about it than anybody else. 
His mother, however, was the daughter of George 
Saville Carey, an actor, dramatist, lyrist, and lecturer 
of considerable repute in his day, and her husband, 
Kean's father, also named Edmund, was, at one time, 
an apprentice to a surveyor, but died as a copying clerk 
in an attorney's office. Kean was almost entirely 
neglected in his infancy, so much so that at one time it 
was found necessary to use bracing-irons to bring his 
limbs — deformed by his attempts to imitate his com- 
panions — back to their natural shape. His mother, 
being connected with the theatre, Kean had hee entree 
behind the scenes, where he almost lived. His first 
appearance before the public, was when the opera of 
" Cymon " was produced, which is thus recorded by 
Michael Kelly, in his reminiscences : — " Before the 
piece was brought out, I had a number of children 



168 RECORD OF THE BOSTON STAGE* 

brought me, that I might choose a Cupid. One struck 
me with a fine pair of black eyes, who seemed by his 
looks and gestures most anxious to be chosen as the 
little god of love. I chose him, and little did I then 
imagine, that my little Cupid would eventually become 
a great actor ; the then little urchin was neither more 
nor less than Edmund Kean." The little urchin con- 
tinued to serve in the theatre, and when John Philip 
K<mble conceived the idea of introducing infant imps 
around the witches' cauldon in "Macbeth," Kcan was 
among them, and seems to have entertained a suspicion 
of the mummery of the whole affair, as he continued to 
trip up the heels of some of his fellow-phantoms. 
Kemble, as may well be imagined, was excessively 
annoyed, whilst Kcan appeased his offended dignity by 
the readiness with which he begged the manager " to 
consider that he had never appeared in tragedy before." 
At a very early age, Kean gave promise of his future 
ability as an actor. His perceptions of the beauties of 
the different plays were very good, and even in his 
sixth year, his recitation of the tent-scene in " Richard 
III." was marked by a judicious spirit, and a clear 
conception of every passage. Kean grew up, appar- 
ently, without any motherly care ; he was ignorant of 
the first rudiments of education, and he repaid the 
kindness of some, friends who placed him at school, by 
"taking French leave," and entering the merchant 
service as a cabin-boy. He sailed from Madeira, where 
he was taken sick, and after remaining several months 
in a hospital, worked his passage home, where he 
arrived penny less, homeless, almost houseless, and for 
aught he knew, friendless. Miss Tisdale, of Drury 



EECOED OF THE BOSTON STAGE. 169 

Lane Theatre, -whom lie had from his infancy been. 
taught to regard as an aunt, in connection with Mrs. 
Price, another aunt, sent him once more to school, but 
the irksome inflictions of scholastic severity were too 
fatiguing, and again taking to heels, he joined the show 
establishments of Richardson & Saunders, and became, 
under scientific tuition, an expert tumbler in the ring, 
and a most daring equestrian. When at Bristol, on 
one occasion, while exhibiting some extraordinary 
exploit in the circus, he lost his equipoise, and, falling 
on the sharp boards that formed the ring, fractured 
both legs. The consequences of the accident were 
always discernible. He continued this life of vaga- 
bondage for some time, though in every vicissitude, 
his predilections for Shakspeare and the regular drama 
abated not one jot, and thanks to Miss Tisdale, he was 
finally induced to accept a situation in a small theatre 
in Yorkshire, where he acquitted himself — though still 
a boy — in many of the leading characters of tragedy, 
with considerable success, and in such a way as to give 
promise of becoming eventually, if not a very great, at 
least a very clever actor. Kean had many years of 
severe probation to pass through, but he struggled on, 
gaining slowly in reputation. He became a member of 
a " commonwealth," which, as in later days, proved a 
state of common poverty. The circuit he was on, was 
in the immediate vicinity of London, and oftentimes he. 
found himself as poor as a pauper ; for the tragedian,, 
who afterwards obtained his £100 per night, at one- 
period actually lived, or rather existed, on the sum of" 
three shillings and sixpence; and at one time, in the 
town of Croyden, he was so reduced, that a bundle of 



170 RECORD OF TIIE BOSTON STAGE. 

clothes received from Miss Tiilswcll, were sold to pay 
for food, or to use Kean's words, " for better security, 
my aunt's parcel was consigned to the charge of 'my 
uncle.' " 

In this same town of Croyden, where Kean had 
experienced the effects of a short purse, it was, that 
shortly after, Kean, by one of the happiest retorts on 
theatrical record, evinced the consciousness of his own 
mental power, and triumphantly repelled the ignorant 
and invidious attack of the " cant of criticism." He 
was announced for Alexander the Great, and the 
triumphal car, in which the hero was drawn in mimic 
procession, had just reached the centre of the stage, 
when, as it passed in " slow and solemn state " by the 
foot-lights, some supercilious coxcomb in the Btage-box, 
exclaimed, with a sneer, "Alexander the Great! 
Alexander the Little!" Kean, with an admirable 
presence of mind, turned his head deliberately round 
without altering his position, and fixing his eyes with a 
look of ineffable scorn upon the self-sufficient sneerer, 
replied, "Yes! but with a great soul!" The spirit 
of the actor roused the audience to a just sense 
of the insult that had so unworthily been offered to 
him, and whilst they applauded the promptitude and 
manliness of the retort, his mortified assailant slunk 
.away from the scene of his opponent's triumph. 

To follow Kean in his provincial tours, would be 
neither interesting nor of value, so far as it might 
affect a just appreciation of the man. As opportunity 
presented itself he improved himself in fencing, music, 
dancing, and singing, and had the honor, in Belfast, of 
performing with Mrs. Siddons, who predicted his future 



RECORD OF THE BOSTON STAGE. 171 

success. He visited Birmingham, and other principal 
cities, and while in Scotland, he was summoned by his 
aunt to repair at once to London, where she had 
procured him an engagement at the Haymarket Thea- 
tre. He lost no time in obeying the summons, which 
he looked upon as the result of his provincial and 
northern exploits ; and confirmed in this notion by 
observing the play of " The Mountaineer " placarded 
as the opening performance at the Haymarket, he 
paused in joyous expectation of seeing his own name 
announced as Octavian — the fame of his representa- 
tion of that character having, he flattered himself, 
reached the metropolitan managers. But who shall 
describe his disappointment and mortification, when he 
discovered that Mr. Rae was to enact the hero of the 
piece ; whilst, nearly at the fag-end of the dramatis 
2Jersonce, he read : — 

GANEM, By Mr. Kean. 

{His First Appearance at this Theatre.) 

Kean, however, did his duty to the manager and the 
public, and by the touching delivery of some half-dozen 
words, uttered in the act of kneeling to Bulcasim 
Muley, he aroused the sympathies of the whole house, 
who rewarded the unlooked-for burst of energy and 
feeling by three distinct rounds of applause. 

Finding that no advantageous opening could be made 
at the Haymarket, Kean determined to apply to John 
Philip Kemble, then manager at Co vent Garden, but 
his reception was so chilling that he returned to his 
post and patiently fagged through the season. The 
next season Kean became a member of Mr. Watson's 



172 RECORD OF TIIE BOSTON STAGE. 

company, and while at Cheltenham, married Misf 
Chambers, who was then playing the heroines. The 
marriage proved an unhappy one, and brought with it 
nothing but disappointment and enduring wretchedness. 
Kean was then only twenty years of age, and he was 
soon convinced, that so far as money was concerned, 
instead of realizing the golden dream in which he 
indulged, he had entailed upon himself the additional 
expenses of an establishment befitting a married man. 
He was deceived, but the deception was all his own, 
for his wife was no party whatever to his self-delusion. 
Dissatisfied with himself, he sought for solace in disso- 
lute and dissipated society, which proved so destructive 
to his fame towards the latter part of his life. 

At the close of his second season, in that district, 
Kean joined the Swansea company, then managed by 
Mr. Cherry. At this time, he achieved a succession of 
triumphs as Sir Giles Overreach, Reuben Glenroy, and 
as Luke, in " Riches." In Richard, in Octavixtn, Shy- 
loch, and many other characters, Kean was not less 
eminently successful. By a strange coincidence — 
never equalled in the annals of the stage — it happened 
that James Sheridan Knowles was, at that time, also a 
member of Cherry's company ; and at Waterford, he 
produced for his own benefit, his first acted drama. It 
was a musical piece, entitled " Leo ; or, The Gipsy," 
abounding with passages of pure poetry, and with 
descriptions and imagery worthy of the author of the 
" Hunchback," " Virginius," etc. Kean played the 
hero with much applause. But, to render the coinci- 
dence still more extraordinary, on that same season, 
and a few nights after Knowles' successful essay, Kean, 



RECORD OF THE BOSTON STAGE. 173 

too, added the character of a dramatist to that of a 
tragedian, by producing a melodrama, of which the 
dialogues, songs, and music, were of his own composi- 
tion. The melodrama was afterwards sent to Miss 
Tisdale through the post-office ; the postage, however, 
amounting to nearly three pounds, she declined purchas- 
ing such an unanticipated gratification at so dear a rate, 
and it was returned to the dead letter office, where it 
was doubtless committed to the flames. Though he 
had, as occasion required, disported during the season, 
as first tragedian, low comedian, principal vocalist, ballet- 
master, comic singer, and harlequin, the most singular 
effort of his eccentricity was reserved for the evening 
announced as the benefit of Mrs. Kean, who appeared as 
Elivina in the tragedy of " Percy ; " Kean himself 
enacting Douglass, which he followed by singing a 
comic song between the play and farce ; and closed the 
evening's entertainment as Champanze, the monkey, in 
"Perouse!" 

Kean's movements were erratic — now here and 
now there — often penniless, and frequently degrading 
his profession by his personal dissipation. Kean, while 
at Guernsey, neglected the opportunities of cultivating 
an intimacy with members of a higher grade of society, 
and sought that of smugglers, and so low down did he 
get that the company left him there, in an almost 
desperate condition, and he was forced to give an even- 
ing's entertainment of recitations, to obtain the means 
of leaving the island. It was while at St. Pierre, that 
on the night of Kean's benefit, his " first-born " Howard, 
appeared as the infant Achilles, in a ballet of action, 
got up for the occasion, and entitled " Chiron and 



174 RECORD OF THE BOSTON BTAGK. 

Achilles," in which Kean himself personified Cki\ 

Howard was tlien about five years old, and as fine and 
interesting a boy as ever gladdened the heart of a 
parent. 

Kean passed through the vicissitudes incidental to a 
man of his temperament and profession, but hie reputa- 
tion was constantly on the increase, and the autumn of 
1813 found him performing at Dorchester, where he 
was barely able to maintain his wife and two children, 
Howard and Charles. The houses were very slim, and 
Kean did not exert himself; and, one evening, after he 
had played but indifferently, he was addressed by a 
gentleman, who introduced himself as Mr. Arnold, who, 
at repeated solicitations of Dr. Drury, had been de- 
spatched by the committee of Drury Lane Theatre, 
then at the lowest possible ebb. Mr. Arnold invited 
Kean to breakfast with him the next day. Kean went 
home in an agony of despair : " I have ruined myself 
forever,'' said he to his wife, " Arnold has been in the 
house these two nights. I have been playing carelessly 
and gagging ; for who can play to such houses ? " His 
wife's judicious reply was, " It is fortunate for you, 
you were ignorant of his presence, or you would 
certainly have overacted your part." After a sleepless 
night Kean met Arnold ; the conference was brief, an 
offer was made and accepted for his appearance at 
Drury Lane. Two days after this unexpected turn in 
his affairs — this brightening of the horizon, which 
chased away the gloomy clouds which heretofore had 
dimmed the future — his beloved Howard had died. 
The child — by " many a pang endeared," as we have 
stated — was one to gladden the heart of a parent. 



RECORD OF THE BOSTON STAGE. 175 

There was a singular beauty and expression in every 
feature of his fair face — an intellectual joyousness and 
spirit in his bright eyes. His early death carried 
sorrow to his parent's heart, and deprived the world, 
perhaps, of one who might have filled his father's 
place, without inheriting his father's vices. 

Kean met on his arrival in London the troubles inci- 
dental to an actor, but patiently did he encounter them 
— checking the promptings of his proud heart. The 
great day arrived ; it was the 26th of January, 1814. 
To one it was to decide his future life, for upon Iris suc- 
cess depended all. The audience was a very thin one. 
After having greeted the new Shyloch with the custom- 
ary reception, all was painfully silent until the passage 
was reached, where Shyloch says : — 

<: The man is, notwithstanding, sufficient ; — three thousand ducats ; 
— I think I mar take this bond. 

a Bassanio. — Be assured you mar. 

" Shyloclc. — I icill be assured I may: and that I may be assured I 
Trill bethink me," etc., etc. 

" I will be assured " was a new point — it moved the 
audience ; and " then," as Kean expressed it, " then, 
indeed, I felt. I knew, I had them with me ! " Appro- 
bation ripened into enthusiasm ; the few who had come 
there were startled, for though his voice was harsh, his 
style new, his action abrupt and angular, there was the 
inspiration of genius in the look, the tone, the bearing 
of the hard, unbending Jew, which was too powerful to 
escape their notice. That night was the starting-post 
of the course upon which he was destined to run his 
splendid race. For a period of nineteen years did 
Kean pursue an extraordinary career — to allude to 



17G RECORD OF TIIE BOSTON STAGS. 

the events of which, or to convey an idea of his talent?, 
is a ta.sk we shall not attempt, aware of our total in- 
ability to do justice to the man, in the space we have 
allotted to this sketch. With the genius to have been 
more than a Garrick in his art, he had the follies and 
passions at times to reduce him almost beneath a Cooke 
in his habits. 

One scene in his life, we cannot, in closing this 
outline of Kean's life, omit, as it introduces one who is 
still living, and who has himself filled no minor place 
in the theatrical world. Edmund Kean, aware of the 
caprice of public favor, had determined to discounte- 
nance his son, the present Charles Kean, from embrac- 
ing that profession in which he himself had risen to 
such eminence, and, through the interest of his friend, 
Lord Essex, procured for him an appointment as cadet 
in the service of the East India Company. But when 
Kean imagined that every arrangement was completed, 
he found his son's anxiety for the welfare of his mother 
so great, and his apprehension so strong, lest, by any 
reverse of his father's prospects, she might be exposed 
to misfortune or suffering during his absence from 
Europe, that he had resolved, firmly and immovably, 
to remain in England, and seek for reputation and 
wealth on the stage. It was not for some years, and, 
indeed, until in consequence of some misunderstanding 
with the lessee of Drury Lane Theatre, that he with- 
drew from that theatre, and hastily concluded an en- 
gagement with M. Laporte at Covent Garden, that he 
ever became so far reconciled to his son's adoption of 
the profession as to consent to appear in the same play, 
or even on the same boards with him. But Laporte, 



RECORD OF THE BOSTON STAGE. 177 

rightly estimating the attraction that the appearance of 
father and son, as the representatives of two such char- 
acters as Othello and Iago would prove, rendered that 
condition the sine qua non of the arrangement. They 
were accordingly announced for the 25th of March, 
1833, and a house crowded in every part justified the 
most sanguine anticipations of their success. " The 
scene in which the Moor appeared, followed by ' mine 
ancient/ can never be forgotten," observes an eye-wit- 
ness, "by those who beheld it." The applause was 
tumultuous — the spirit of enthusiasm pervaded all — • 
and never, perhaps, were the generous sympathies of an 
audience more displayed than at that moment. It was 
a spectacle never to be forgotten, to see the great tra- 
gedian, the only Othello of the modern stage, leading for- 
ward that son, — attesting, with a father's pride, their 
perfect reconciliation, — enjoying the paternal triumph 
which his success at so early an age could not fail to 
excite in such a heart as Kean's, — presenting him to 
those from whose hand he had himself won the meed 
of high renown, as a worthy competitor for the garland 
of dramatic fame which they had conferred upon him, 
whenever the hand of time should snatch it from his 
own brow. Bat, if all hearts beat high with joy and 
exultation in that scene, what were the sensations with 
which, after the delivery of the passage in which Kean 
breathed, in tones of soul-subduing pathos, the anguish 
— the all but mortal agony of an o'ercharged heart- — 
giving its last sigh of desolation and despair to the 
wreck of all its hopes, of all its happiness — the last 
" farewell " to the hero's ambition, to the soldier's glory, 
to the husband's cherished bliss, to the human weakness, 
12 



178 RECORD OF THE BOSTON STA« 

the sympathies and the affections of the man — the 
mournful melody of his voice coming over the spirit 

like the desolate moaning of the blast that precedes the 
thunder-storm — lie faltered forth the word-, " Othello's 
occupation 's gone ! " and sank almost exhausted on the 
arm of his son. A sudden and a saddening conviction 
smote every heart, that the last effort of the tragedian 
was then made, and that the stage had lost its brightest 
ornament. Upon Mr. Charles Kean devolved the mel- 
ancholy but filial duty of bearing his exhausted father 
from the field of his former triumphs, and from the eyes 
of those whom he had so often moved to admiration, to 
wonder, to enthusiasm, to pity, and to tears. Mr. Kean 
w T as removed to his house at Richmond, where every 
attention was paid, but in vain, lie lingered until 
twenty minute- past nine o'clock in the morning of 
Wednesday, the 15th of May, 1833, when he tranquilly 
expired. 

In person, Mr. Kean was scarcely of the middle 
height, and was accordingly deficient in the dignity of 
deportment requisite for certain characters, as that of 
the noble Roman, Coriolanus. His features, though 
not sufficiently regular to be termed handsome, were 
capable of almost illimitable expression ; his eyes, as it 
wer,e, played with the passions in the very spirit of 
mastery ; his voice in the undertones boomed with 
melancholy music, and in sudden transitions, abounded 
with fine, meteor-like effect ; and although, as we have 
said, he was not of dignified stature, he walked the 
stage with ease and self-possession attainable only by 
true genius. TVe have not alluded, in the above, to 
many incidents in Kean's life, which mark his " evil 



EECORD OF THE BOSTON STAGE. 179 

hours." Plays were often omitted or changed through 
his caprice, and while intoxicated, he has insulted 
audiences of the highest respectability. On one occa- 
sion while in Glasgow, the fourth act of a play — to 
favor Mr. Kean, who had been too free in the indul- 
gence of his social qualities in the afternoon — was 
shortened. The audience deemed this an unwarrant- 
able innovation, and after the manager had come 
forward, and vainly endeavored to restore peace, Mr. 
Kean appeared and motioned to be heard. Silence 
being obtained, he, with a look of ineffable disdain, 
turned up his countenance to the galleries, and address- 
ed the gods with — " What is your pleasure, gentle- 
men t" As , these gentlemen had commenced the 
uproar, and as the way in which Mr. Kean expressed 
this address was so laconic, it had an instantaneous 
effect on those of the lower regions, and they completely 
outdid the celestial inhabitants in their turn with their 
shouts of applause. Mr. Kean, however, gave a care- 
less, inanimate, and uninteresting representation, and 
lost cast there as elsewhere, by his neglect of that 
courtesy which the public can demand of an actor, as 
their right, and the omission of which justly merits the 
severest reprobation. Other instances might be given 
of Kean's short-comings, one or more of which we shall 
have occasion to allude to as local events. 



180 RECORD OF THE BOSTON BTAGB. 



CHAPTER XII. 

Kean's First Appearance in Boston. — The Rush for Tickets. — The 
Premium.- given to Charitable Societies. — Kean's Receipt-. — Mr. 
Thayer. — Master Ayling. — The Sea Serpent. — Death of Mr. 
Bray. — Death of Snelling Powell. — La^t Appearance of Mr. 
Dickson. — Kean's Return to Boston. — His Troubles. — The Ee- 
centric Kemhlc. — Squihs at Kean, etc. etc. 

The announcement that Kean was to appear in 
Boston created an excitement quite equalling — when 
we take into consideration the population of the city — 
that caused by the notice of Jenny Lind's approach to 
our shores. Mr. Kean had already passed through 
the principal cities of the Union, and had everywhere 
been received with the greatest applause. The New 
York journals had vied with each other in their adula- 
tion, and his firm friend, the late M. M. Noah, then 
editor of the Advocate, was his warm eulogist, and sub- 
sequent to his troubles became his apologist. Mr. 
Kean, "from the Theatre Royal, Drury Lane," was 
announced for eight nights — performances on Monday, 
Tuesday, Thursday, and Friday evenings. The rush 
for tickets for the opening night, was great — people 
employing men to procure " boxes," though only one 
" box " was sold to one person ; but after the first night, 
the tickets were sold at auction, and, with a generosity 
characteristic of Messrs. Powell and Dickson, the pre- 
miums were given to various charitable institutions. 
We have before us a letter to the managers from 
Lewis Tappan, Esq., acknowledging a donation of $90 



RECORD OF THE BOSTON STAGE. 181 

for the Society for Employing the Poor ; another, from 
Ann G. Southack, in behalf of the Methodist Female 
Sewing Society. The following was also sent to the 
managers : — 

At the Quarterly Meeting of the Managers of the Boston Dispensary, 
held on Friday, April 13, 1821. 

Present — His Honor William Phillips, Joseph Tilden, Edward 
Tuckerman, S. H. Walley, Samuel Snelling, Edward Phillips, Gideon 
Snow, T. A. Dexter, Esqs., and Bey. Henry Ware. 

It icas Voted, That the thanks of this board be presented to the 
managers of the Boston Theatre, for their liberal donation of the pre- 
mium money, accruing from the sale of box tickets, on<ke twenty- 
fourth day of February, 1821. 

It was Voted, That the secretary be a committee to communicate 
to the managers of the Boston Theatre, the preceding vote. 

A true copy from the Becord. 

Attest : Thomas A. Dexteb, 

Secretary. 

There was scarcely a society in the city, without 
regard to any sectarian feeling, but were the recipients 
of a portion of the funds thus generously given. 

Mr. Kean opened, on the 12th of February, 1821, in 
"Richard." The house was crowded, and continued 
to be throughout his engagement ; for the Kean fever 
broke out and raged without cessation. His acting was 
the all-engrossing topic of fashionable discussion, and 
Kean himself became the lion of the day. His engage- 
ment was for nine nights. He shared with the man- 
agers after $1000 per week, and had a clear benefit ; 
and the engagement resulted in his adding to his 
treasury the neat sum of $3302.68. So great was the 
rush to see him, that he was re-engaged for six nights 
more at £50 per night and clear benefit, which gave 
him $2151.58. The last night of his re-engagement 



182 RECORD OF THE BOSTON STAGE, 

the premiums on the tickets amounted to $640, and 
though thousands of dollars were thus paid, the man- 
agers only reserved $500, which offset sundry extra 
expenses incurred to better accommodate the public. 

During Kean's visit, he appeared as Lear, Hamlet, 
Brutus, in Payne's play, and other leading charao 
performing several of his great parts as he only could 
perform. On Ins closing night after the tragedy, he 
was called before the em-tain, and the cry was universal 
for him to prolong his stay. Mr. Kean expressed liis 
gratitudetfor the marked attention which had been 
Bhown him by the public and by many distinguisl 
persons, and regretted that engagements at the South 
prevented him from re-engaging at that time ; but 
should an)- circumstances arise which he could avail 
himself of, to revisit what he was pleased to style the 
"literary emporium of the New World," lie should 
certainly embrace it with heartfelt satisfaction. 

Mr. Thayer — a gentleman who first appeared as 
Young Norval before the Philo Dramatic Society — 
appeared this season, and Master Ayling made his ap- 
pearance as a singer. On the 4th of April, 1831, Mrs. 
and Miss Pelby (afterwards Mrs. Anderson) took a 
benefit, w T hen # Miss Pelby gave a new garland dance. 
The sea serpent afforded, at this time, the subject of a 
piece, entitled the "Sea Serpent, or Harlequin in 
Gloucester," which was brought out for Mr. Bray's 
benefit. Mr. Bray appeared, we believe, but a few 
times after this benefit, which took place in the spring 
of 1821. He was then taken sick, and his disease — a 
complication of disorders — baffled the skill of the 
faculty of this city, and as a last resort, he was induced 



RECORD OF THE BOSTON STAGE. 183 

to visit his native land, in the hopes of finding health 
on England's shores. He left America, where he had 
resided for seventeen years, in the spring of 1822, and 
reached Leeds, England, in June, but he died two days 
after, at the house of his sister, Miss Bray, the day on 
which he completed his fortieth year. His eldest son 
accompanied him on his trip. As a professor of the 
drama, Mr. Bray was the delight of those who wit- 
nessed the exhibition of his talents. He possessed 
considerable talents both as an author and a musical 
composer ; and as a private individual, no man was 
ever more highly or more deservedly respected. 

The theatre-, this year, sustained an irreparable loss 
in the death of Snelling Powell — the first successful 
Boston manager — who died on the 8th of April, 1821, 
aged sixty-three. As a manager, he was highly 
esteemed ; as an actor and a gentleman, appreciated by 
our citizens. Towards the latter part of his life, he 
played but seldom. The celebrated John Hodgkinson 
pronounced his personations of such parts as Lissardo, 
and Spatterdash to be the neatest he had seen in 
America, and his Romeo, Richmond, Barnwell, and 
similar characters, were always respectable and often 
excellent. 

Though born — as we have stated in an earlier chap- 
ter — in a foreign land, he had passed nearly half of a 
longer life than is usually allotted to man, in this city, 
and had imbibed a respect for our institutions. To 
quote from an obituary notice : — "It was the native 
land of his children, it was endeared to him as the 
scene of many friendships and associations ; it was here 
that he had found friends, a home, and a country ; it 



184 BECOBD OF THE BOSTON STAGE. 

Hi here that he had prepared a tomb. lie had seen 
something of the vicissitudes of life. When he arrived 
in Boston, violent prejudices exi.-ted against the estab- 
lishment of a theatre ; players were viewed by some of 
the narrow-minded bigots of that period as hardly 
entitled to the common privileges of humanity, and 
even the more liberal almost dreaded contamination 
from their approach. Mr. Powell was prudent enough 
to pursue a course of upright and gentlemanly con- 
duct, and he was fortunate enough to conciliate, by 
that course, the refined and the liberal, and if he could 
not win the favor of the uncandid and uncharitable, he 
did at least disarm their enmity of some portion of its 
malignity, and soften the obstinacy of the ignorant. It 
is not too much to attribute to the private worth and 
respectability of Mr. and Mrs. Powell, the credit of 
having dissipated much of the prejudice which charac- 
terized our puritanic townsmen in 1795. They have 
at least proved that actors do not necessarily belong to 
the inferior ranks of society; for they have been 
example's of industry and prudence, rising from a 
depressed condition to affluence and respectability." 

Mr. Powell was a much-esteemed member of the 
masonic fraternity. He was one of the original peti- 
tioners for the charters of Columbian Lodge, and St. 
Paul's R. A. Chapter, and had repeatedly held the 
office of master in the Lodge. His generosity had 
there often been tried and never found wanting. His 
funeral was attended by a large number of those who 
had been his friends, and respected him, not only for 
his excellent taste in catering for public amusements, 
but for those sterling qualities, which marked him as 



EECOKD OP THE BOSTON STAGE 185 

an honest man — the noblest work of God. He was 
buried under Trinity Church. At his demise, Mrs. 
Powell became interested in the management of the 
theatre, with Messrs. Dickson and Duff, and on the 14th 
of May, she took her benefit, but owing to her recent 
domestic affliction did not appear. Mr. James A. Dick- 
son volunteered, and appeared as Sir Robert Bramble, 
in the " Poor Gentleman," as Will Steady, in " The 
Purse," and Tag, in the " Spoiled Child," — his last 
appearance on any stage. 

In the early part of May, 1821, Kean — having con- 
cluded his engagements at the South, and most of the 
theatres being closed for the season — signified his 
intention of visiting Boston. Mr. Dickson wrote to 
him and endeavored to dissuade him from the idea, as 
it was the dull season and many were out of town, and 
urged him to postpone his visit till fall, — Kean having 
then announced his intention of remaining a twelve- 
month. To this Mr. Kean would not listen, as he felt 
assured he could draw at any season. He accordingly 
came and opened as Lear on the 23d of May, to a fair 
house. The second night he appeared as Jaffier, to a 
slim house, and on Friday, the 25th, he was announced 
for " Richard HI." Kean went to the theatre at the 
usual time, and was much chagrined to find only a very 
few present, and, instead of performing his duty of 
dressing, walked round, stating that he should not play 
to bare walls. The time for the curtain to rise having 
arrived, Kean was solicited by the managers to prepare, 
but walking to the front, and taking a view of the 
house — which was quite thin — he declared it would 
be impossible for him to play. Mr. Dickson urged 



18G RECORD OF TIIE BOSTON STACK. 

him to perform that night, and keep good faith w i 1 1 1 
the public, offering to release him from his engagement ; 
but Kean refused, and extending his han*d, invited the 
manager to take a parting drink, as it was wVintention 

to leave Boston early the next day. Mr. Kean then 
left for his hotel, and lie had been absent but a short 
time, when the boxes filled up, and there was a fair 
house. Mr. Dickson sent word to Kean that Col. 
Perkins and other distinguished citizens had come in, 
and requested him to return, as the house was as good 
as some that Cooke had played to ; but he was inexora- 
ble, and declined. Among the audience considerable 
impatience was manifested, in consequence of the 
unusual delay in the time of the rising of the curtain, 
and about ten minute- before eight o'clock, Mr. Duff 
•rent in front and addressed the assembly. He stated 
it was with extreme regret and embarrassment, he was 
under the necessity of declaring that Mr. Kean, after 
repeated importunities to the contrary, had positively 
refused to perform that night, and he was preparing to 
leave town. Mr. Duff then expressed a wish that the 
audience would decide wdiether the performances should 
go on without the aid of Kean. This was answered 
by loud affirmatives from all parts of the house ; and 
Mr. Duff remarked in conclusion, that those who 
desired it, could have their money returned on applica- 
tion at the box-office. On the rising of the curtain, 
there was another call for the manager, and the per- 
formers were directed to leave the stage. Mr. Duff 
again appeared, and asked the pleasure of the audi- 
ence. He was requested to state the reasons of Mr. 
Kean's refusal to play, to which he replied, it was for 



EECORD OF THE BOSTON STAGE. 187' 

the want of patronage. There were a few disposed to 
stop the play ; others insisted that an eccentric indivi- 
dual, named Kemble,* who had been giving readings 
and imitations of Kean should appear, but order was 
soon restored, and the play proceeded — Brown sus- 
taining the part of Richard. Early the next morning, 
Kean left in a private carriage, and proceeded to a 
neighboring town, where he awaited the arrival of the 
mail stage. 

There was a feeling of general indignation at this 
unmanly and miserable retreat. He had come against, 
the expressed wishes of the management, and he was 
bound according to every principle of honor and usage, 
to stand the hazard of the die. The newspapers of* 
the day were severe in their remarks. In one ap- 
peared the following : — 

ONE CENT REWARD! 
T)UN away from the "Literary Emporium of the New World," a, 
-*-*- 1 stage-player, calling himself Kean. He may be easily recognized 
by his misshapen trunk, his coxcomical, cockney manners, and his 
bladder actions. His face is as white as his own froth, and his eyes 
are as dark as indigo. All persons are cautioned against harboring 
the aforesaid vagrant, as the undersigned pays no more debts of his 
contracting, after this date. As he has violated his pledged faith to- 
me, I deem it my duty thus to put my neighbors on their guard, 
against him. Peter Public. 

Another journal — the Galaxy, opposed to Kean and. 
his acting — inserted the annexed: — 

* Kemble visited Cambridge to give his readings, but before he> 
arrived tbe students broke the benches and windows, and amused 
themselves in true collegian style. Mr. Kemble shortly after reached 
the hall, and looking round, said he came there to amuse the students,, 
but as they had succeeded so much better, in amusing themselves, it 
would be superfluous for him to proceed. 



INS 



::i> OF Tin: BOSTON STAGE. 



THE TWO MURDERS. 

" When Cain the first foal murder bold, 

EQi rigfati ou brother slew in day- of old, 

God drove him forth and damned him with a stain, 
That all might know the guilty wn 

li But modern Kean — that i kney wight 

Who nmrd 1 nature every night, 

Forestalh /■!.< doom, rmu off — crack-pas 
Pion knave, and ilaim i 

The feeling against Kean was not confined to Boston. 
In New York there was considerable talk upon the sub- 
Soon after his arrival in that city lie published 
the following letter: — 



TO Tin. EDITOB <•: n:i: HEW v RK KATIOKAL ADV04 

\stJu;. |8SL 

" Sir.. — A- I have yet some months to remain in this country, it is 
my earnest wish to preserve the good opinion of those friends who 
have so generously and nobly manifested their approbation of my 
character and talents. As the servant of the public, I am aware 
that I am amenable to public opinion and censure ; and if the public 
voice declare that I have been in error, I am ready to apologize with 
all due submission. But, sir, is it not extraordinary, that the offence 
with which I am charged took place at Boston, with the concur- 
rence of the managers; with the approbation of friends, with whom 
I afterward spent the evening — gentlemen of fortune and literary 
acquirements; and that I should not hear any dissatisfacton expressed 
until I arrived in this city ? I passed the following morning at Bos- 
ton tranquilly; and on my arrival at New York, murmurs of disap- 
probation were heard, which appeared to me like an overwhelming 
avalanche at the termination of a brilliant harvest. 

" At an immoderate expense, and with all that additional cost 
■which falls to the lot of a stranger, I repaired to Boston to fulfil my 
engagements. Had I been acquainted with the customs of the coun- 
try. I should have made different arrangements; but my advisers 
never intimated to me that the theatres were only visited during cer- 
tain months of the year ; that when curiosity had subsided, dramatic 



EECOED OF THE BOSTON STAGE. 189 

talent was not in estimation. I never could or would believe that the 
arts in this country were only encouraged periodically, or that there 
could be any season in which Shakspeare was diminished in value ; 
but as I am now initiated in these mysteries, I shall hereafter profit 
by my experience. 

" Sir, I live by my professional exertions. Innumerable family 
claims are satisfied by each month's disbursements — I cannot afford 
to give those talents away. I had performed two of my principal 
characters, without hopes of remuneration in that town, where my 
efforts had, two months before, contributed largely to augment the 
public charities. I repeat, I had acted two characters to the very 
extent of my abilities without profit. On looking through the cur- 
tain, at seven o'clock, on the night I was to represent Richard the 
Third, (that character which has been the foundation of my fame 
and fortune,) I counted twenty persons in front of the theatre. I 
then decided, hastily, if you please, that it was better to husband my 
resources for a more favorable season, and, in this decision, no dis- 
respect was contemplated to the audience, slender as it was. The 
managers apparently concurred with me, deplored the unfortunate 
state of the times, and we parted in perfect harmony and confidence. 

" It was my intention to leave America on the close of my south- 
ern engagements. I now think it my duty to return again to Boston, 
and in person vindicate my cause at the season when those who most 
patronize the theatre are assembled. The public have treated me 
with the greatest liberality, and I shall ever acknowledge its favors 
with pride and gratitude. At the latest hour I shall remember those 
friends by whom I have been encircled, and whose amity and confi- 
dence I am convinced I have not forfeited. But I may be permitted 
to say, that the present hostility is not the voice of the public ; it is 
that spirit of detraction ever attendant on little mind* — a spirit 
which watches for its prey, and seizes upon transient and accidental 
occurrences to defame and destroy. That respectable presses in 
this country should have been influenced by such feelings, and de- 
nounce with such acrimony and bitterness, is to me extraordinaiy. 
! There issomething in it more than natural, if philosophy could find 
it out.' • 

'• I understand some gentlemen have asserted that I have acted to 
equally bad houses in England. I lament that they are driven to 
such extremities : or, rather, that they should compel me to declare 
that their assertions are untrue. The present existence of the first 
theatre in Europe, is founded on the abilities which thev affect to- 



190 



RECORD OP THE BOSTON BTAGE. 



The provincial managers of England, Scotland, and Ire! 
thankfully rewarded my i ims eqnal 

i my friend, Mr. Price, the worthy 

of the theatre in tills ci te first three r un- 

lented in dramati ipt of double thai ram 

iry theatre in which I acted, and even, allowing a trifling dimin- 
ution in the space of seven years, what am I to think of I city in 
which I have been received with eqnal enthusiasm, and witau 
of three months? But the public 
■was too precipitate, — that I should have performed tfa 
and then closed my engagement. Granted. Our f< 
mar our better judgments, and from trifling 
which we subsequently regret The error was venal, for who is 
pt from error? But all unprejudiced people will, I tru^t, take 
into consideration the unprofitable labor of aci 
to a solitary few, who subsequently acknowli - per- 

fectly contented with the gentleman wh ! the character. 

■• 1 am now convinced that the fine w 

-tation in the Boston Theatre bei 
return to England. 

"I rir, to submit this 'round unvarnished tale' to the 

I decision of the public; and I have too exalted an 
opinion of their justice and liberality not to anticipate a verdict in 
my favor. Ku.viM) Kla>\"' 

This called forth the following : — 



TO THE PUBLIC. 
" The managers of the Boston Theatre, having suffered not only 
severe mortification, from the disappointment experienced by the 
public, but a heavy pecuniary loss, from Mr. Kean's non-fulfilment 
of his engagement with them, indulged the hope that they should 
not, in addition, be accused of ' concurring in ahy offence to the pub- 
lic;' Mr. Kean's statement, however, re-published in the P. 
paper of to-day, has reduced them to the unpleasant alternative of 
either by silence admitting the truth of that statement, or of pu' 
disavowing it. They, therefore, respectfully state, that Mr. Kean's 
refusal to perform the part of Rkhard the Tl ' only with- 

out their concurrence, but met from them all the opposition in their 
power, which they thought decorous and gentlemanly. This course 
•was dictated by a sense of duty that they owed to the patrons of the 



RECORD OF THE BOSTON STAGE. 191 

drama, and when they add, that he was not to receive any specific 
sum for his sendees, but was to share the receipts of the eight nights, 
if they exceeded a certain agreed sum, and to have the ninth night 
clear for his benefit, it will appear evident, that interest as well as 
duty would prevent them from concurring. 

li The managers submit this statement in duty to the public and 
themselves, not from any hostility to Mr. Kean. 

J. A. Dickson. 

John Duff. 
"Boston Theatre, June 4, 1821." 

Mr. Kean, previous to his first letter, addressed the 
following to Mr. Dickson : — 

" Mr Dear Sir, — I much regret the occasion of my abrupt depar- 
ture, but you must feel with me that my professional reputation 
must not be trifled with. An mdifferent house to such plays as 
"Venice Preserved," etc., however icell acted, may be found in the 
catalogue of histrionic events, but a total desertion of the public to 
that character which has been the foundation of my fame and fortune, 
requires a greater portion of philosophy than I am master of. I must 
lament to find that curiosity alone was the incitement of the appar- 
rent enthusiasm that attended my efforts on the first engagement. I 
had vainly conceived the talent not the novelty had attracted. Be 
kind enough to pay into Mr. Tileston's hands my portion of the first 
night's receipts. I am dear Sir, 

Yours, etc., 

Edmund Kean." 

The above bears no date, and as will be seen bears 
marks of a slight repentance for his hasty act. The 
italics are Mr. Kean's. 

A second letter soon followed the . first ; — the public 
feeling had increased in New York, and a riot, if Kean 
played, was feared : — 

ME. KEAN'S FAREWELL TO AMERICA. 

[From the New York National Advocate of June 8th.] 
" Sir, — As I find it impossible for individual efforts to stem the 
torrent of opposition with which I have to contend, and as I likewise 



192 RECORD OF THE BOSTON STAGE. 

consider it inconsistent with my feelings and character to make 
additional apologies, I have resolved to return to my native country, 
and beg leave to oiler bo the public my thanks for that portion of 
favor bestowed on me, and respectfully bid them farewell. 

"Had I been aware of the enormity of the offence which has 
excited so much indignation, I certainly should not have permitted 
my feelings to interfere with my interest. 

" The 'very head and front of my offending' amounts to this: MB 
actor, honored, patronized by his native country, and enjoying ■ 
high rank in the drama, withheld his services under the imp! e 
that they were not duly appreciated ; and so much do I fear the 
fraility of my nature, that it is not improbable, under the same cir- 
cumstances, I might be tempted to act in the same manner. I there- 
fore think it proper to leave the theatre open to such compeers, 
■whose interests it may be to study the customs, and not offend them 
by my presence any longer. 

" Before I left England, I was apprized how powerful an agent the 
press was in a free country, and I was admonished to be patient 
under the lashes that awaited me; and, at a great sacrifice of feel- 
ing, I have submitted to their unparalleled severity ami injustice. I 
was too proud to complain, and suffered in silence; but I have no 
hesitation in saying, that the conduct I pursued was that which 
every man of reputation would pursue under the same circumstances, 
in that country where Shakspeare was born and Garrick had acted. 

" Again, I disclaim any intention of offending; and although every 
natural domestic tie, as well as the public love, await me on my own 
shores, it is with reluctance and regret I leave my friends in America. 

Edmuhs Kean." 

This appeared June 8th, the day after Kean sailed 
in the Martha for Liverpool, and the subsequent day a 
third letter was published in the Advocate. It was 
addressed to M. M. Noah, Esq., the Editor : — 

"Off Sa>-dy Hook, June, 1821. 

" Dear Sir, — Impress upon the public mind that I do not leave 
America but with the most sincere impressions of admiration and 
respect; and though I have temporarily yielded to the torrent of 
hostility, which I was too proud to contend against, still, on the ter- 



RECORD OF THE BOSTON STAG-E. 193 

ruination of my Drury Lane engagement, I shall return again to 
share the favor of those friends, whom I shall ever rank foremost in 
my affections, in whatever climate fortune may dispose me. 

Edmund Kean." 

It was during this visit to America that Mr. Kean 
caused the body of Cooke to be disinterred, and re- 
moved to an eligible spot in St. Paul's church-yard, 
near the corner of Broadway and Vesey streets. The 
monument over the remains is in marble, and consists 
of a square pedestal on two steps surmounted by an 
urn, from the top of which a flame issues. The in- 
scription on the tomb, which was furnished by Dr. 
Francis, who superintended the removal of the remains, 
is as follows : — 

" Erected to the Memory of George Frederick Cooke, by Edmund 
Kean, of the Theatre Royal, Drury Lane, 1821. 

1 Three kingdoms claim his birth, 
Both hemispheres pronounce his worth.' " 

The Boston Theatre soon after closed. The com- 
pany visited Portland during the summer, and Mrs. 
Powell released the theatre for three years. 
13 



194 KIX'OUD OF THE BOSTON STAGS, 



CHAPTER XIII. 

The Act of Incorporation. — Tom Kilncr. — LabasM. — Samuel \\'<»o<l- 
ttu— Bostons City. — Booth's First Appearance in Boston. — 
Biographical Sketch of Booth. — Remarks on his Acting. — Appear- 
ance of Miss Elizabeth Powell. — I Tett — Announcement 
of Mr. Finn's Appearance. — A Biographical Sketch of Henry. I. 
Finn, etc. etc. 

The business of the theatre had, previous to this 
year, been managed by the trustees of the theatre, but 
it was found so inconvenient to carry out the joint-stock 
principle, that an act of incorporation was applied for, 
which was granted by the legislature, on the lGth of 
June, 1821. 

The theatre for the season of 1821-2 opened on the 
19th of September, under the acting management of 
Messrs. Kilner & Clarke. The house had been re- 
painted, and a large audience was assembled to witness 
the " Foundling of the Forest," in which Messrs. Duff, 
Thayer, Clarke, Moreland, Perkins, J. Mills Brown 
(first appearance in Boston), with Mrs. Drummond, 
Mrs. Parker, Mrs. Barnes, and Mrs. Powell appeared. 
Mr. Spear, formerly of the Washington Gardens, also 
appeared this season. On the 28th of September, Kil- 
ner made his first appearance before a Boston audience 
as Sir Anthony Absolute, his wife appearing as Lucy. 
They were warmly received, and time justified the pre- 
diction then made, that they were great acquisitions to 
the company. Mr. Kilner is still living in Ohio. Mr. 
Cooper played an engagement, and Mr. Hilson, Mrs. 



RECORD OF THE BOSTON STAGE. 195 

J. Barnes, and Mrs. Holman, a singer of merit, with 
Phillips, who was here in 1813, were among the stars. 
Mrs. Holman and Phillips did well, and the receipts 
on the last night of Mrs. H.'s engagement, when she 
took her benefit, amounted to $806. During the season, 
"La Belle Peruvienne," a ballet, was produced under 
the direction of Monsieur Labasse, and Samuel Wood- 
worth, the author of the "Moss-covered Bucket," 
brought out a play entitled " The Deed of Gift," which, 
however, met with a poor reception, and was almost 
immediately shelved. In 1822, the act of the legisla- 
ture was passed conferring upon Boston the name and 
privileges of a city ; and on Monday, April 8th, the 
first city election took place, which resulted in no 
choice. On this evening Mr. Duff took his benefit, but 
the adherents of Quincy and Otis were too much occu- 
pied to attend the drama, and the result was any thing 
but gratifying to the beneficiary. On the second trial, 
the Hon. John Phillips was chosen mayor, and the 
political excitement had had time to die away, when 
the advent of Junius Brutus Booth was announced. 
The first appearance of this great actor in Boston, 
where for so many years he has attracted those most 
conversant with the different schools of acting, and has 
delighted elsewhere the most critical audiences in the 
world by his masterly impersonations, occurred on the 
6th of May, 1822. He made his appearance as Richard, 
a character which he is identified with wherever he has 
performed. His acting then received the applause of a 
Boston audience ; and up to his last appearance in this 
city prior to his death, he retained the position he so 
eminently deserved. During his first engagement, he 



19G BBOOBD OF j iii: BOSTON STAGE. 

performed Sir Edward Mortimer, Sir Gile* Overreach, 
Oetavian, and for his benefit Hamlet, which drew an 
eight-hundred-dollar house. There was a cbasteness 
in Booth's earlier delineations, which never failed to 
command approbation. His voice, which latterly had 
lost its mellow tour-, Avas most musical, and though 
as Richard he had at the time of his death no equal on 
the stage, his impersonation had lost the vigor of his more 
youthful days. Booth's acting always evinced genius. 
Like Edmund Kean, there was inspiration in his em- 
bodiment of Shakspearian characters, and even when 
the words were lost to the hearing, the eye needed no 
vocal interpreter, for Booth, more than any actor we 
have ever Been, possessed the power of combining a 
meaning in every gesture, and a silent glance was 
equivalent to a delivered sentence. As a soliloquist, 
Booth excelled. With many actors, all soliloquies seem 
like so many title-pages to the succeeding acts, but 
Booth avoided all Btrains after startling points, and 
gave to such passages, both in "Hamlet" and " Rich- 
ard," an interest without destroying the unity of the 
play. The part of Richard, it has been remarked, is 
beyond all others variegated, and consequently favor- 
able to a judicious performer. Booth's acting in the 
scene with Lady Anne, and the tent scene in the 
" Richard," was unequalled by any performance of 
modern days ; and though there are portions of the 
Apostate and Sir Giles Overreach which command 
admiration, his master-piece,»we think, was that portion 
where Richard starts out of his dream and exclaims, 
a Give me another horse ! " etc. The intensity of his 
acting, the admirable conception of the part, and the 



EECORD OF THE BOSTON STAGE. 197 

delineation of remorse, hatred, and repentance, which 
alternately harrow the soul of the hypocrite and mur- 
derer, rendered this scene the best, if not the very best, 
in all Booth's range of character. 

A brief biographical sketch of this actor may not be 
inappropriate. Booth was said, to be a descendant of 
the celebrated Barton Booth, the greatest English actor 
of ancient times, but this fact seems not to be well 
authenticated. His father was an attorney, his mother 
lineally descended from the celebrated John Wilkes. 
The elder Booth, a warm admirer of the writings of 
Junius, named Ms son (who was born at St. Pan eras, 
near London, on the 1st of May, 1796,) after the object 
of his admiration, adding thereto that of Brutus, over 
which signature the illustrious incognito sometimes 
wrote. In his younger days, he was remarkable for 
his love of drawing and painting, the pursuit of which 
studies, however, he soon abandoned, and entered the 
navy as a midshipman. His father's opposition to such 
a life induced him to commence printing, which he 
gave up for the law. But Themis had few charms for 
him, and he applied himself to sculpture, from which 
he soon turned to his final profession, the stage. His 
debut was at a cow-house in Pancras street, Tottenham- 
court-road, as Frank Rochdale, in "John Bull." Here 
he played Buckingham, and on one occasion read 
Collooney, in the " Irishman in London." He soon 
joined a strolling company, and made his regular debut 
at Peckham on the 13th of September, 1813, as Cam- 
pillo, in the " Honey Moon." With this company he 
performed at Ostend, Amsterdam, Antwerp, Brussels, 
and Ghent. At Brussels he made a hit as Megrine. 



198 RECORD OF THE BOSTON STAGE. 

Here he vu married. After some difficulty lie suc- 
ceeded in obtaining an engagement at Covent Garden, 
and in October, 1813, played for the first lime in Lon- 
don, enacting Sylvius in " As You Like It." When at 
Covent Garden, before the brilliancy of his talent had 
dazzled all eyes, it is recorded that the celebrated Miss 
Sarah Booth, the leadi] -. and a greet favorite 

by reason of her great personal beauty as well as 
dramatic ability, requested him to add mi u e H to avoid 
being mistaken as her relative. The riots at Covent 
Garden in 1817, of which Booth was the cause, are too 
familiar to need notice here. Leaving this theatre, he 
plajed the " Lear of Private Life " at the Coburg, which 
lie left for Drury Lane. In 1820 he had a rencontre 
with "11 I )iavolo Antonio," and soon after he left for 
America. His debut in America took place at Rich- 
mond, on July loth, 1^21, as Richard. On the 5th of 
October he opened in the same part in New York. In 
1825 he left his farm at Bel-Air, Maryland, whither 
he had sojourned for some months, and returned to 
England, opening at Drury Lane as Brutus. His visit 
was of short duration, and he again crossed the water. 
During his first visit to New Orleans, he appeared as 
Oreste in Racine's " Andromaque," at the French the- 
atre, and the purity of his accent perfectly electrified 
the Frenchmen, who crowded the house on the evening 
in question. Shortly after this singular freak, he 
passed some time at the " Hermitage," by invitation of 
Gen. Jackson. In September, 1831, Mrs. Booth, one 
of the most beautiful women of her day, first trod the 
boards at the Holiday street, Baltimore, as Rosalie 
Sowers to her husband's Reuben Glenroy. This lady 



RECORD OF THE BOSTON STAGE. 199 

remained but a short tirne on the stage, yet gained an 
enviable reputation for her impersonation of the above 
part and of Susan Ashjield. On one occasion, in Bal- 
timore, Booth appeared as the second actor to Charles 
Kean's Hamlet, and at the conclusion of the soliloquy, 
" Thoughts black," etc., the audience rose en masse, and 
cheered him to the echo. On October 27th, 1832, 
Booth played Old Norval to the Young Norval of Wm. 
"Warren, the favorite comedian of this city, it being the 
debut of that gentleman. In 1836, Mr. Booth, for the 
fast time, visited his native country, where he remained 
nearly a year, returning thence to the land of his adop- 
tion. Since then his career is well known. Probably 
no actor ever gave rise to more of anecdote, both myth- 
ical and recital, than Mr. Booth. His numerous eccen- 
tricities would fill a volume. " The Actor, or A Peep 
behind the Curtain : Being Passages in the Lives of 
Booth and some of his Contemporaries" published in 
New York in 1846, gives the best life of the gifted 
tragedian we have yet met with. Mr. Booth's last 
appearance in this city was at the Museum, as Richard^ 
on October 31st, 1851. 

Mr. Booth subsequently visited California, where he 
was very successful, and then returned to play his last 
drama on the boards of the St. Charles, New Orleans. 
His last appearance on the stage was on Friday, Nov. 
19 th, as Mortimer and John Lump. Mr. De Bar, (a 
connection of Mr. Booth,) was the Sampson, and Mark 
Smith the Winterton of the evening. The Picayune 
says of the occasion : — " The St. Charles Theatre was 
crowded last evening for the benefit of this veteran 
performer. Many ladies graced the dress circle with 



200 RECORD OF TIIE BOSTON STAGE. 

their presence. * * * * Mr. Booth appeared in 
his favorite character of Mortimer, To say thai be 

enacted it in a style that delighted every one, would 
be speaking without exaggeration. Indeed every suc- 
cessful performance during his two brief engagements 

appeared to show Mr. Booth's powers to better advan- 
tage, and the regret is general that he should stay so 
short a time with us. Talent like that b 168 is 

so rare now-a-davs, when respectable mediocrity is the 
chief qualification of the American stage, that we can- 
not make up our minds to part with Mr. Booth until 
we have at least seen all the faces of the jewel of 
dramatic genius, whose brilliancy has illumined his 
name not only for the present generation, but for pos- 
terity. Mr. Booth was called out after the play, and 
again after the farce, — the famous one of the Review. 
Public curiosity was much excited to Bee him in a part 
so opposite to the tragic character he had represented 
in the early part of the evening, and it was difficult to 
recognize in the stupid, awkward Yorkshire clown, 
John Lump, the form, and face, and voice, that moved 
the audience in Shyloch, Bertram, and such powerful 
characters." 

While in New Orleans, Mr. Booth contracted a 
violent cold, which greatly enfeebled him. He took 
passage on the steamer J. S. Chenoweth,^intending to 
return home, but on the 30th of November, 1852, at 
noon, while on the Mississippi, he died, his disease 
having turned into consumption of the bowels. For 
three days before his death he had become speechless. 
On the 11th of December, his burial took place at 
Baltimore, from his residence in North Exeter street, 



RECORD OF THE BOSTON STAGE. 201 

and was attended by the relatives of the deceased, the 
Baltimore Dramatic Association, who were very numer- 
ously represented, the various members of the Baltimore 
orchestras, and a large number of personal friends. The 
train proceeded to the Baltimore cemetery, where Vol- 
landt's band performed an appropriate and impressive 
dirge, composed for the occasion. 

Mr. Booth's claims to authorship rest solely upon 
" Ugolino," one of the best productions of the modern 
stage, a work possessing great poetry of diction and 
nervousness of style. It was originally written for Mr, 
and Mrs. Henry Wallack, who first produced it at the 
Chesnut St., April 20th, 1825, sustaining the principal 
characters of Ugolino and Angelica. Mr. John R. Scott 
has, we believe, of late years, possessed the right of 
representing it, and it was performed with success at 
the Howard during the season of 1849-50, the hero 
and heroine being delineated by Scott and Mrs. J. B. 
Booth, Jr. This play is published, easily accessible, 
and worthy a place in every library. The following 
lines will serve as an extract ; they are simple, yet 
extremely beautiful : — 

" Let us part, 
Since part we must, like brothers and like friends, 
Who bent on travel, thus dividing stray. 
As Fortune or as Fancy leads the way, — 
Far off, yet not forgotten, though apart, 
Dwelling together in each other's heart." 

Mr. Booth has had, we think, three children. The first 
was a daughter to whom he was much attached. The 
news of her death reached New York on a certain day, 
on the evening of which he was " up " for Richard. 



202 BBGOBD OF THE BOSTON STAGE. 

Careful of his reputation and distressed by his affliction, 
he was iii great anguish, not knowing how to avoid the 
performance, when he accidentally met Mr. Forest 
On being told of his affliction, Mr. Forest immediately 

offered to perform the part, though lie had not played 
it for some voars. This little act of unsolicited kindness 
speak- volumes for the warm heart of the actor. Mr. 
Booth's eldest son, J. B., Jr., now in California, is well 

known here. His debul occurred a t the old National 

in the season of 1840-41, as Tressel in " Richard II I. " 
Edwin Thomas Booth, now also in California, made a 
successful debut in the same part at the Museum, Sept. 
10th, is i:i. 

At the close of the season, the company as usual left 
for some of the neighboring cities. A portion visited 
Portland, where on the 16th of August, 1822. Miss 
Elizabeth Powell, (afterward- Mrs. Finn.) daughter of 
Snelling Powell, made her debut in the part of Jalianna 
in the " Honey Moon." The season of 1822-3 com- 
menced on the 10th of September, and the opening 
night introduced to a Boston public Mr. George Bar- 
rett, more familiarly known as " Gentleman George," 
who, after an absence of many years, returned to the 
" boards," where he first made his bow to an audience, 
when quite a boy. Mrs. Warring this season made 
her first appearance in # America, and on the first night, 
recited. Collins's Ode on the Passions. Mr. Barrett's 
excellent acting is still so fresh in the remembrance of 
many, that any allusions to his qualifications are almost 
useless. At the time he made his reappearance, he 
was probably the best comedian on the American stage. 
Mr. Barrett subsequently married Mrs. Drummond, 



RECORD OF THE BOSTON STAGE. 203 

who, at his first benefit in Boston, appeared as Jesse 
Oakland, to Barrett's Young Rapid, in " A Cure for 
the Heart- Ache." In later years, Mr. Barrett was 
connected with the Tremont Theatre, and recently with 
the Broadway Theatre, N. Y. In 1850 he made a 
tour of the United States with his daughter, Miss 
Georgiana Barrett, (now Mrs. Warren,) and in 1852-3 
was stage-manager of the theatre at Charleston, S. C. 

On the 16th of October, 1822, the " Child of Nature" 
was brought out for the purpose of bringing forward 
Miss Elizabeth Powell, who appeared during the sea- 
son in many parts, and gradually succeeded in over- 
coming that timidity which was the chief fault in her 
acting. Her Hester in " To Marry or not to Marry," 
and Zorayda to Finn's Octavian, were above medi- 
ocrity. 

Miss P. was the only child of the Powell family who 
had an inclination for the stage, and adopted the pro- 
fession against the wishes of her friends. 

In the newspapers of the day, an announcement ap- 
peared, which we copy. It appeared in the papers of 
1822: — 

" H#~ Mr. Finn, the Tragedian, is shortly expected. Due notice 
will be given of his appearance in this city." 

Henry James Finn, one of the most popular actors 
that ever made Boston his home, was born in Cape 
Breton, Sidney, about the year 1785. His father was 
at one time in the British Navy, but retiring from the 
service, he came when the subject of this sketch was 
quite a child to New York. Finn evinced no decided 
predilections for the stage till 1804-5, when he obtained 



204 



RECORD OF THE BOSTON STAGE. 



an entreS behind the scenes at the Park Theatre, and 
soon enlisted ai volunteer to the u property man," de- 
riving an ample equivalent for any hard work he might 
do, by being allowed to make his appearance on the 
stage to deliver a letter, or in some other minor capac- 
ity. He devoted his evenings to this recreation, daring 
the day serving in the office of Thomas Phoenix, Esq., 
a< copying clerk, having received the rudiment-; of an 
education at the academy at Hackensack. His em- 
ployer) however, soon ascertained the chosen spot of 
his clerk's nightly retreat, and, fearing that it might 
lead to evil, requested Mr. Stephen Price, then mana- 
ger, to forbid any farther visits. The manager did BS 
he was requested, and the door being closed on him, 
be was obliged to seek other sources of amusement, for 
his pecuniary affairs prevented hi- ingress to the front 
of the house. His father dying, it devolved upon Finn 
to support his mother, a task which he fulfilled during 
his life with filial obedience and solicitude. It was 
about this time that Finn and his mother embarked for 
Europe, in the hopes of bettering their condition through 
the influence of his father's relatives, but on their ar- 
rival in London, they could find no near relations, and 
Finn was obliged to teach school. His earnings were 
barely sufficient to purchase bread with, and he ex- 
perienced the sufferings which many have undergone 
in London, and which stimulated him to make exertions 
which finally led to his adoption of the profession. After 
many struggles with misfortune, he left the metropolis 
one morning, without even taking a farewell of his 
mother. Unacquainted with the roads, he wandered on 
until dark, when coming to a village where a strolling 



RECORD OF THE BOSTON STAGE. 205 

company had put up, he soon ingratiated himself into 
their good graces, and was regaled with part of their 
cheer. On proceeding to the barn where the perfor- 
mances were to take place, Finn discovered that the little 
knowledge he had picked up in the paint-room of the 
Park Theatre could be put into requisition, and imme- 
diately, with the aid of a little red and yellow ochre, 
chalk, size, and whiting, he re-touched the scenery, and 
much improved the general effect. The discovery of a 
pure vein of golden ore would not be more acceptable 
to a party of miners, than was Finn's talent to this 
wandering company. He was immediately pressed 
into the service, and thus humbly commenced his 
career as an actor. His first earnings were sent to bis 
mother, and during the time he travelled, her welfare 
was the subject of his most tender care. Finn after 
this returned to America, and, we believe, made his 
first appearance as actor on the stage in New York. 
In 1818 he visited Savannah, where he made a good 
hit. He appeared in December of that year as Mer- 
cutio, Donald in " The Falls of Clyde," and in January, 
1819, performed the Stranger in Kotsebue's play for 
his benefit to a crowded house. He subsequently re- 
turned to Savannah, and in 1820 was associate editor 
and publisher with J. K. Tefft, of the Savannah 
Georgian, a daily paper, which bears evidence of 
Finn's ready pen, literary taste, and pure morality. 
He wrote at this time a series of articles, entitled " The 
Moralist," which appeared every Saturday. They are 
of a serious cast, yet written in an attractive vein. 
Finn, in the year 1821, was again in London, where he 
subsisted by the aid of his pencil as a miniature painter, 



20G RECORD OF THE BOSTON STAGE. 

making trips to the large provincial theatres, and it 
was Mr. Finn's original intention to become an artist 
About this time Finn attached himself to the Surrey 
Theatre as leading nielo-dramatic tragedian, hut the 

manager becoming insolvent, Finn's demands on the 
treasury were not paid, and he returned to America, 
and on the 28th of October, 1822, made his first ap- 
pearance at the Federal Street, in the part of Richard. 
Shortly after his arrival here, he received praise for 
his personation of Mark Antony, and performed with 
general acceptance Othello to Cooper's Iago, Pythias to 
Cooper's Damon, George Barrett appearing as (assio y 
Mrs. Henry as Desdemona, Mrs. "Warring as Emilia 
in the former, and Cliarnoek appeared as Dionyriui, 
Mrs. Powell as Hermion, and Mrs. Henry as Calanthe, 
in the latter. Those who recollect Mr. Finn only as 
Paul Pry, Lord Ogilhy. Monsieur Jaques, Dr. Pant/loss, 
Dob Logic, Billy Black, Beau Shatterley, Maivworm, in 
which he had no equal in his day, may smile to think 
of one who is associated in the memory as the laughing 
son of Momus, assuming so tragic a part ; but the as- 
sumption was not a caricature, and had he preceded 
Cooke, Cooper, and Kean, he would have been encour- 
aged to pursue this line of characters. Indeed, his 
reading of Hamlet, in the opinion of many, challenged 
comparison with that of the most famed tragedians, and 
even as late as 1836 he performed Richard in Phila- 
delphia to the acceptation of those who are critical in 
such matters. Mr. Finn was engaged as a permanent 
actor at a salary of S25 per week, and, as will be seen, 
performed second to Cooper, Forest, Macready, and 
others. He subsequently was manager of the theatre 



RECORD OF THE BOSTON STAGE. 207 

in conjunction with Kilner, and afterwards a member 
of the stock at the Tremont. His poetical contributions 
on festive occasions were numerous and exceedingly 
witty, though the wit of many of his conundrums was 
lost — 



unless you print Ms face. 



He invariably kept the public in a continual roar by 
Jiis mirth-provoking sallies, but in private he was very 
sedate ; and to see him quietly seated in the Athenaeum, 
his favorite place of resort, no one would imagine that 
the spare man with eyes so intent upon some foreign 
Review, was he who at night as Billy Black would 
keep the audience " laughing in tiers." 

Finn, in 1829, gave entertainments similar to Mathew's 
(i At Home," in Portland, and was very successful. He 
had the faculty for this species of entertainment ; and 
when he exercised it either at the table of a friend or 
in public, his stories and songs were irresistible. Finn, 
in the latter part of his life, " starred" it with great 
success, retiring in the summer to his cottage at New- 
port, to pass the warm months with his family. He 
accumulated considerable money by his professional 
services, a portion of which, however, was lost in un- 
fortunate speculations in 1835-6. 

The fate of Mr. Finn is too well known to require 
any lengthy notice. He was a passenger on board the 
Lexington, which was burnt on Long Island Sound, on 
the night of the 13th of January, 1840. Universal was 
the regret expressed throughout the country at his loss, 
and the sympathy of his many friends was extended 
towards his family. He left a widow (who is still living. 



208 



RECORD OF THE BOSTON STAGE. 



in this city) and five children, two of whom have made 
their appearance on the stage. Our " Record " will 
contain farther notice of Mr. Finn, relative to his con- 
nection witli theatricals in this city. 



CHAPTER XIV 



Charlee Mathews in Boston. — His First Appearance. — Sketch of 
11- Life. — Anecdotes. — His Libel Suit. — Arthur Kcene. — 
Adams. — " Coleridge's Remorse." — Booth, " No N<w York Mana- 
gers Here." — The City Theatre. — Joe Cowcll's Troupe. — "Tom 
and Jerry" brought out. — The " SJiak-p<-aiv Jubilee." — The 
Prize Ode. — Report of the Committee. — Presentation of tho 
Pitcher to Charles Sprague. 

In the month of December, 1822, Charles Mathews 
arrived in this city. He was born June 28, 1776, in 
the Strand, London, where his father was a respectable 
bookseller. It was a boast of Mathews, that the great 
David Garrick, on one occasion, while at his father's 
bookstore, took him in his arms. He received at the 
Merchant Tailors' School a good common education, 
and afterwards, while an apprentice to his father, had 
opportunities of gleaning knowledge from the various 
books which passed through his hands, and early pro- 
nounced an inclination for the profession he subse- 
quently adopted, by singling out for perusal " Bell's 
British* Theatre," " The Beauties of the Dramatist," 
<etc, in preference to those of a more serious cast. He 



RECORD OF THE BOSTON STAGE. 209 

soon thirsted for an opportunity to distinguish himself 
on the stage, and an opportunity presented itself. Hear- 
ing that " hard by there were spirits at work," he made 
it a point to initiate himself into their good graces, and 
under the pretence of improving his French, he repaired 
nightly to a kind lady, who gave evening lessons to a 
few select pupils, who in return complimented her by 
bringing out a play. In a small room, in the Strand, 
over a pastry-cook's shop, Mathews appeared in the 
part of Phoenix to Elliston's Pyrrhus — a name which 
will not occur in our local record of dramatic events in 
Boston, but who was intimately connected with theatri- 
cals in Europe for many years. At the time of 
Mathews' first juvenile effort, he had not seen the 
interior of a theatre, and it was not till 1790 that he 
paid a stolen visit — his parents being strictly opposed 
to all such entertainments — when " The Orphan " and 
the farce of " Retaliation " were presented. The future 
course of his life was shaped by this event ; the dry 
details of business, the tedious duties of an apprentice 
were neglected, and the counter of his father's store 
was the rostrum upon which he gave — for the especial 
benefit of his fellow clerks — imitations of what he had 
seen at the theatre. 

In September, 1792, Mathews and a young friend 
equally stage-struck, heard that for ten guineas, the man- 
ager at Richmond, near London, would allow them to 
indulge in their penchant for the stage ; and in the early 
part of this month, having paid for that honor, Mathews 
appeared as Richmond, in " Richard the Third," and 
Bowhitt in " The Son-in-Law " — with what success 
may be judged from a notice in the paper, that he " did 
14 



210 



RECORD OF THE BOSTON STAGE. 



not disgrace the company lie performed with." His 

father, finding liis son's mind fixed upon the stage, one 
day addressed him thus: "Charles, there are your in- 
dentures, and there are twenty guineas; I do not 
approve of the stage, but I will not oppose your 
Wishes. At any time hereafter, should you feel inclined 
to an honest calling, there are twenty guineas more if 
you send for them; and your father's house is open to 
you." The second twenty guineas Mathews never 
claimed. 

There is a great similarity in the lives of all actors 
— the same hard toil to perform — the -ame aspira- 
tions — the same disappointments. Where one rises to 
any thing like respectability in the profession a score or 
more retire from the stage, or settle down as second 
or third-rates in some stock company. Others, with 
genius, falter in their career, listen to the fulsome adu- 
lations of friends, and are lost, while the laurel wreath 
is only awarded to those who patiently labor on, devot- 
ing their energies and mind to study and acting. 
Mathews, after leaving his father's house, went to Can- 
terbury, where he played Old Doiley and Lingo, and 
thence to Dublin, where, after a feverish existence of 
eighteen months, being cast to parts unsuited to his 
talents, and being honored on one occasion by " a groan 
for the long lobster who played Beaufort" he started for 
Bristol. Contrary winds, however, drove the vessel 
to Swansea, where he joined Mr. Masterman's company, 
and continued for three years to act all his favorite parts 
with considerable success. On the 16th of May, 1803, 
lie appeared at the Haymarket, London, as Jubal in 
"The Jew," and Lingo, and from that time to his 



RECORD OF THE BOSTON STAGE. 211 

death, was a great favorite on the stage of the metro- 
polis. Mathews, however, was more successful in his 
entertainments than as an actor. He possessed a 
peculiar power of copying the minds of persons of 
whom he gave imitations, and his greatest efforts were 
produced by imaging conversations between men which 
had never taken place, but in which he depicted with a 
master-hand their minds, characters, and dispositions. 
This power, added to a copious store of anecdote, the 
quickest possible perception of the ridiculous, an un- 
equalled talent for singing comic songs of a species 
which he himself originated, rendered his " evenings " 
very popular ; and his " Mail- Coach Adventures," 
" Trip to Paris," " At Home," etc., etc., always drew 
crowds. On the 6th of September, 1822, Mathews 
arrived at New York, where he was extremely well 
received, as well as in Philadelphia. His appearance 
in Boston will form a portion of our local record. On 
his return to England, he brought out his " Trip to 
America," which, at the time, was the subject of con- 
siderable remark, it being alleged that he had attempted 
to burlesque the Americans, who had received him so 
kindly. This he denied, and much was published on 
the subject, and on his return to New York, in 1834, 
there was a determination not to allow him -to appear. 
Placards were posted round the streets inviting hostil- 
ity, and trouble was anticipated. The curtain at the ' 
Park Theatre, however, on the 13th of October, 1834, 
went up, to a house crowded from pit to dome. When 
he appeared a most tremendous shout greeted him, and 
the applause long continued. Silence being obtained, 
he addressed the audience in a strain of eloquence. 



212 



RECORD OF TIIE BOSTON STAGE. 



He thanked them for their warm and generous recep- 
tion of him, and asked : was it possible, if he WBI 
guilty, that he would have thus come here to lace them? 
No. "I am not acting now!" said Mr. Mathews, 
with great feeling, — which had an electric effect. 
After the performance of Monsieur Tonson, etc, he 
was called out, and thanking t lie audience for the recep- 
tion, stated, that to prove that he had not done.inju.sfn e 
to America, he would, with their permission, take oc- 
casion to act before them his whole "Trip to America," 
verbatim et literatim. This he did ; and the verdict 
was, not guilty, to the various charges which had been 
made against him. While in America, Mr. Mathews 
was present at a dinner given in Philadelphia in com- 
pliment to Mr. Sheridan Knowles, who availed himself 
of that opportunity to testify to Mr. Mathews 1 uniform 
admiration — expressed when abroad, of the citizens of 
this country. Mathews' visit to Boston, in December, 
1834, and January, 1835, was the last. lie was quite 
sick while here and confined to his room ; his sufferings 
being alleviated, however, by the kind attention of Mr. 
Manners, the English consul at that time, by Mrs. 
Eliot, the Thorndikes, and other families, and it hap- 
pened that his last attendance at church was at the 
Trinity Church in this city, where he went to hear the 
preaching of Dr. "Wainwright, who, though he did not 
attend the theatre, was a friend to the comedian. Mr. 
Mathews returned to New York, where he performed 
a short engagement, taking his farewell benefit on the 
11th of February, 1835, which was his last appearance 
on any stage. On the 18th of the same month, in 
company with Mr3. Mathews, he sailed from New 



RECORD OF THE BOSTON STAGE. 213 

York, and after a voyage of nineteen days, reached 
Liverpool in exceedingly feeble health. He was 
removed to the house of a friend near Devonport, and 
thence to Plymouth, where he expired on the 28th of 
June, 1835, quitting this world on the fifty-ninth anni- 
versary of his birth. The immediate cause of his 
death was water on the chest. 

Mr. Mathews was married twice. His first wife was 
Mrs. E. K. Strong, who died in 1802. His second 
wife (and mother of the present C. J. Mathews) was 
Miss Jackson, an actress. During his life, he enjoyed 
the friendship of such men as Sir Walter Scott, Byron, 
Moore, Rogers, and was with John Kemble, and the 
veteran Braham, received as a guest by George the 
Fourth. Kean alone excepted — he made more money 
than any performer of his day, though he did not die a 
wealthy man. His body was interred in St. Andrew's 
Church, Plymouth, .and a great number of persons 
distinguished for rank and respectability, attended the 
funeral. A handsome monument was subsequently 
erected in the vestibule of the church, bearing the fol- 
lowing inscription by Horace Smith : — 

11 All England mourned when her comedian died, 
A public loss that ne'er might be supplied; 
For who could hope such various gifts to find, 
All rare and excellent in one combined? * 
The private virtues that adorned his breast, 
Crowds of admiring friends with tears confessed. 
Only to thee, God ! the grief was known 
Of those who reared this monumental stone ! 
The son and widow, who, with bosoms torn, 
The best of fathers and of husbands mourn. 
Of all this public, social, private wo 
Here lies the cause, — Charles Mathews sleeps below." 



2H RBOOBD OF tin: BOSTON STAGE. 

The memoirs of Charles Mathews, in four volumes, 
were published in England in 1839. Mathews com- 
menced his first engagement in Boston, on the 26th of 
December, IS 2 2. The terms wore to share after $1,500 
for five Bights, the Bixtfa to take a benefit at $300 
charges. It was renewed for seven nights, share after 
$300 per night. The managers gave £50 for the four- 
teenth night, and shared after $300 on the fifteenth and 
sixteenth nights, and the seventeenth night — his benefit 
— he paid $300 charges. The tickets were sold at 
auction, and S500 of the premium went to the manage- 
ment, the rest being distributed among charitable 
societies. 

Mathews opened as Goldfinch and Tonton, two of 
his beat partd, and \i\< reception was great. His style 
was original, and it had the great charm of novelty. 
His " Trip to Paris " drew crowded houses, heavy pre- 
miums being paid for tickets ; and though the cold was 
intense, the water freezing in the pitcher in Mathew's 
room so thick that he could not break it with the leg 
of a chair, people came from Salem in open sleighs to 
attend the performances. On the last night of his 
engagement, which resulted in his amassing $4605.97, 
Mathews was honored by a call before the curtain, 
which he answered by a speech. 

After the close of the engagement, Mathews gave his 
" Trip to Paris " in Boylston Hall, ostensibly to meet 
the wants of those holy puritans, who would not visit 
the theatre to see an entertainment which they patron- 
ized in a hall. Mr. Buckingham (then editor of the 
Galaxy) alluded to this fact in strong language, and 
also attacked Mr. Mathews' entertainments as low and 



RECORD OF THE BOSTON STAGE. 215 

vulgar, and Mr. Mathews commenced a suit against the 
editor, setting his damages at $10,000. Like thousands 
of other suits, brought in a moment of petulance and 
ill humor, or when suffering under the deserved censure 
of an independent press, it never came to trial. 

Mr. "Wallack appeared, and the theatre closed on the 
28th of April with Mrs. Powell's benefit, on which 
occasion an address in defence of the stage was recited 
by the beneficiary. 

During an after-season, Mrs. C. Powell, widow of 
Charles Powell, the first manager of the Haymarket, 
arrived in town from Halifax, where with her husband 
she had long resided, under the patronage of the Duke 
of York, and received a benefit at the theatre, her 
daughter making her appearance. 

The season of 1823-4 is notable on many accounts. 
It commenced on the 15th of September ; Mr. Keene, 
then the best professional male singer in America, ap- 
pearing as Henry Bertram in " Guy Mannering." Mr. 
Adams appeared in tragedy, and Mr. Pelby, who had 
returned from a successful southern tour as a star, made 
his reappearance. Cooper paid his annual visit, and 
brought out Coleridge's " Remorse." Booth, who had 
increased in reputation, was warmly received, and on 
the last night of a very brief engagement, he was called 
out, and — the idea having gone abroad that his engage- 
ment was shortened through the influence of Price, the 
New York manager, who wished Mrs. Holman and 
Mr. Pearman to appear — a demand was made for him 
to play one more night, which was mingled with shouts 
of " No New York managers here ! " Booth retired to 
consult with the managers, and then reappeared, prom- 



21C RECORD OF TIIE BOSTON STAGE. 

ising acquiescence to the request, but for some unknown 
reason he did not reappear. The public, believing that 
it was through Price's influence that they were deprived 
of a favorite, patronized his proteges but sparingly. 

Since the demolition of the Haymarket Theatre till 
1823, the Boston Theatre had little to contend against. 
In 1823, however, the amphitheatre at Washington 
Gardens was dignified by the name of the City Theatre, 
and in December of that year, doe Cowell arrived in 
town with an equestrian and comedy company combined. 
Of the male performers were Cowell, Tatnall, Yea- 
man, Roberts, Iliney, Roper, Ramage, Gale-, Lawson, 
Hughes, Dinneford, Parker, Johnson, Austin, and I 

part of whom were attached to the ring, and part to 

the Btage. Of the females there were Biesdames Tat- 
nall, Kobertston, Stevenson, Parker, etc., and additions 
were afterwards made. Plays were brought out in a 
highly respectable manner. To offset the attractions 
at the City Theatre, Mr. Blanehard's company of rope- 
dancers, etc., were engaged at the Boston Theatre, and 
Mrs. Blanchard for some nights continued to ascend on 
the tight-rope from the back part of the stage to the 
gallery, delighting crowded audiences. 

The popular play of " Tom and Jerry " was brought 
out at the City Theatre, for the first time in Boston, on 
the 19th of December, 1823, and on the 22d it was 
produced at the Boston Theatre. 

Corintldan Tom, . . . . . . . Barrett. 

Logic, Finn. 

Squire Hartshorn Kilner. 

Jerry, Brown. 

Kate, Mrs. Warren, 

Sue, Mrs. Henry. 

Jane, Miss W. Clarke. 



r 
RECORD OF THE BOSTON STAGE. 217 

The amusements of the city appeared rather oddly 
contrived, but . we presume the managers were of 
opinion, that 

" The drama's laws the drama's patrons give, 
For those who live to please must please to live." 

This decline of the drama at the Boston Theatre was 
only temporary, for immediately after, Cooper and Con- 
way were engaged, and played together in " Venice 
Preserved," " Othello," and other tragedies of like 
order. The following advertisement appeared in all 
the papers shortly after the opening of the theatre : — 

NOTICE! 

The Managers of the Boston Theatre having made preparations for 
exhibiting, in the course of the ensuing winter, a Pageant, in com- 
memoration of Shalspeare, in which will be represented his principal 
dramatic characters, with appropriate Dialogue, and the original 
Music as performed in -the Shakspeare Jubilee at Drury Lane, pro- 
pose to give a Gold Medal, of the value of Fifty Dollars, for the 
best Ode or Poem which shall be offered, to be recited on the occa- 
sion. It is desirable that the composition should not be less than 
fifty nor more than one hundred lines in length. The Medal shall be 
awarded by a Committee of ten gentlemen, to be hereafter nominated 
for that purpose ; and that no partiality or personal predilection may 
influence the decision, every piece offered for the prize must be 
accompanied by a sealed paper, containing the name and residence 
of the author, none of which seals will "be broken, except that belong- 
ing to the successful piece. Communications must be addressed 
{post-paid if by mail) to "The Managers of the Theatre, Boston," 
previous to the first day of December next. 

Boston, Sept. 19, 1823. 

The offering of prizes for poems, at that time, cre- 
ated a great excitement among the literati, and the 
most gifted poets in the country entered the lists. The 



RECORD OF TIIE BOSTON STA 

committee was composed of our best scholars, and their 
favorable verdict was of great value. The public par- 
took of this feeling, and a local pride was excited, lest 
some resident of another city might gain the prise* 
The committee on this occasion consisted of Warren 
Dutton, Andrew Ritchie, Theodore Lyman, Jr.. Wash- 
ington Allston, George Ticknor, Alexander Town-end. 
Henry Cabot. Franklin Dexter, dared Sparks, and W. 
II. Prescott, Esqrs. Their position in society, and the 
reputation of many of them in the literary world, aug- 
mented the public interest, and stimulated the pOCtB of 
the country to use their best exertions — all anxious 
for a favorable judgment from such a body of critics. 
The decision was awaited for with impatience, and the 
following is the Report of the committee : — 

" The gentlemen who ware requested by the Manager of the Boston 

Theatre to examine the merit- of the several poenu written on the 
occasion of the approaching Jubilee in honor of Shakspeare, and to 
decide which ia entitled to the Medal proposed, are of opinion that 
this honor should he awarded to Mr. Charles Sprague, as the author 
of the poem marked Xo. 22. 

" The gentlemen, however, owe it to the author of a poem entitled 
" Shakspeare' s Triumph,'' to Bft 7i tn!lt > ts intrinsic merit is so groat, 
and it is so well adapted to recitation, that they consider it entitled 
to high commendation, and they cannot hut express their wish that 
the author would allow it to he recited on the stage. 

W. DlTTOX, 

A. Ritchie. 

In behalf of the Committee." 

The report was received by the public with every 
manifestation of pleasure, and we need not add that 
the merits of the piece etill command the attention of 
scholars. 

Mr. Sprague having been the recipient of a Medal 



RECORD OF THE BOSTON STAGE. 219 

for his Prize Address, on the opening of the new Park 
Theatre in New York, in 1821, and also a Cup from 
the managers of the Chesnut St. Theatre, Philadelphia, 
in December, 1822, for a similar effort, the managers 
of the Boston Theatre substituted a Silver Pitcher 
in the place of the Medal which was offered ; and in 
compliment to the author, for this trio of successful 
poems, Mr. Dickson caused to be engraved thereon an 
appropriate quotation from " Macbeth " — 

" Theice to Thine." 

The poem " Skakspeare's Triumph," alluded to in 
the report, was from the pen of a distinguished clergy- 
man of this city. The Prize Poem and other addresses 
were published in a volume. 



CHAPTER XV. 

The Shakspeare Jubilee. — Compliment to the Author of the Prize 
Ode. — Conway. — Visit of Lafayette to Boston. — Ebenezer Bailey, 
Esq. — Bunker Hill Monument. — Enterprise of Newspapers. — 
City Theatre. — Kean Announced to Appear. — His Troubles in 
England. — His First Card. — First Appearance in New York. — 
His Apology to the Boston Public. — Preliminaries. — The Great 
Kean Eiot, etc., etc. 

We alluded, in the last chapter, to the " Shakspeare 
Jubilee." Worrall, the scenic artist, employed his 
pencil with fine effect. The design of the managers 






220 RECORD OF TIIE BOSTON STAGE. 

was, after showing Shakspeare's house at Stratford- 
upon-Avon, to present a procession of the most cele- 
brated characters in his acting plays ; the tragedies 
preceded by the tragic muse with her appropriate 

emblems in a chariot drawn by fiends ; and the come- 
dies in a car drawn by satyrs,, and surrounded by youth, 
frolic, and good humor. In illustration of the genius 
of the great poet of human nature, a selection of 
scenes was made and represented by different perform- 
ers. A magnificent hall, occupying nearly the whole 
stage, formed the scene for the representation of the 
beauties, and the approach of the personages of each 
production as it occurred in the order of procession 
was made known by the advance of a banner, display- 
ing the name of the play to be illustrated. The " Prize 
Ode," written by Charles Sprague, Esq., was intended 
to be pronounced at the termination of the procession, 
when all the characters that had appeared, the tragic 
muse in her chariot, the comic muse in her car, the 
various banners, and all the u pride, pomp, and circum- 
stance " of scenic show should be collected to give 
effect to the occasion. In consequence, however, of the 
protracted length of the scenes from the different 
tragedies, the audience became impatient, and the pro- 
nunciation of the Ode by Mr. Finn, occurred between 
the display of the tragic and comic diversions. The 
acting was highly creditable to* the talents of Finn, 
Barrett, Kilner, etc. 

The " Jubilee " was repeated on several occasions, 
after being curtailed and altered, and invariably at- 
tracted a large and highly gratified audience. The 
Ode by Mr. Sprague was appreciated, and is still read 



RECORD OF THE BOSTON STAGE. 221 

with pleasure. At a dinner given to Mr. Sprague, 
shortly after, he paid a flattering compliment to Mr. 
Finn, who recited the Ode with fine effect. Prefacing 
his sentiment by stating that the motto annexed to the 
Prize Ode was "Airy Nothing," he continued : " The 
power of recitation that gave to airy nothing a local 
habitation and a name." 

Among the earliest efforts of Mr. Finn, he brought 
out a piece, called " Boston Bay, or Dumb Shows v. 
Shakspeare." 

On the 25th of February, Conway performed Ham- 
let, and followed as Coriolanus, Lord Townly, etc. A 
critic of those days, remarked " that the person and face 
of Mr. Conway are not peculiarly fitted for the stage, 
the first is rather too large and the other too round and 
inflexible, reminding us continually of Fennell, whom 
Mr. Conway also resembles, both in the tone- of his 
voice and his excellent reading of Shakspeare. His 
voice, however, has far more compass, and is deeper 
and clearer than that of Fennell. Conway belongs to 
the Kemble school, with a slight touch of Kean, and 
we are free to say, we have never seen a Hamlet so 
well read, or more feelingly performed, nor a Corio- 
lanus so brilliant in fine points. This excellence is un- 
accompanied by trick and extravagance too frequently 
resorted to, to give effect to mere declamation and high- 
sounding words." Towards the close of Conway's 
engagement, Cooper appeared in connection with him. 

As an actor, Mr. William Conway stood high ; his 
impersonation of whatever he undertook invariably 
elicited applause. He was born in London, and was 
educated for the law ; but adopted the profession and 



222 RECOHD OF THE BOSTON STA(.i:. 

made his first appearance at the Haymarket Theatre, 
London. He was subsequently at Drury Lane, ami 
owing to a law-suit with Klliston, he lost his property, 
and disgusted with his fate in England, lie turned hifi 
attention to America, and arrived here in the latter 
part of 1823. Mr. Cooper found in him a rival of no 
small abilities. Mr. Conway visited the western and 
southern eities, and, in L826, announced his intention of 
retiring from the stage. In the summer of 1827, he 
visited Newport, R. I., which was a favorite resort, and 
in a secluded place, adjacent to the ocean, lie shut him- 
self out from the world, and confined himself to books, 
and it is said, was deeply engaged in theology, prepar- 
atory to his taking holy orders. He appeared care- 
worn and troubled, and led the life of a hermit. Early 
in 1828, he took passage for Savannah, Georgia, from 
New York, and having arrived off the bar of Charles- 
ton, S. C, he seized an opportunity when captain and 
passengers were at tea, and threw himself into the 
sea. The efforts made to save him were unsuccessful. 
About the time that he took passage for Savannah, 
the following pathetic poem, from his pen, appeared in 
a New York paper : — 

THE FAREWELL. 

" A wanderer, doomed to dwell 
On foreign shores a solitary man, 
To home's lov'd scenes lamenting thus began 
The parting sad farewell ! 

" I leave my happy home, 
The streams and meadows I have loved so long, 
And the fair city with its joyous throng, 
O'er the rude waves to roam. 



RECORD OF THE BOSTON STAGE. 223 

" Farewell thou valued one, 
Thou guide and friend of my departed years, 
Thou mother of my youth, why gush thy tears, 
In blessing of thy son? 

" Farewell ! Oh, never more 
Shall thy dim eyes behold thy wayward child ; 
Nay, mother, do not thus with accents wild 
Thy bitter fate deplore. 

" Father, to thee I bow, 
Asking thy blessing with this warm embrace ; 
Chide not the unmanly tears upon my face, 
The paleness on my brow. 

" Alas ! how shall I part 
From thee, my father, and not wet my cheek 
With tears that tell of love and speak 
The sadness of my heart ? 

" But ye, that wonder so 
With uprais'd eyes to see your brother weep, 
Soon shall those little lids, seal'd up in sleep, 
Forget a brother's woe. 

" And thou, whom next I love 
To the ' dear kindred blood ' that fills my veins, 
Farewell to thee — augments all other pains 
That I in parting prove. 

" But see ! the white sails swell ! 
Ah ! blest companions of my early youth, 
Dear object of my fondest love and truth, 
Sweet home, and friends, farewell. 

Conway." 

Daring the summer of 1824, Lafayette, the "nation's 
guest," visited Boston, and received the most cordial 
reception ; and after his departure for the South the 
theatre opened. The company comprised Finn, Kilner, 
Young, Brown, Williams, Clark, Fielding Charnock, E. 
H. Conway, Johnson, Bernard, Spear, Spooner, Tyron, 



224 



RECORD OF THE BOSTON STAGE. 



etc.; and Mrs. Powell, Mrs. Henry, Misa Powell. I 
Placide, .Mrs. Barnes, Mrs. Kilner, Miss Deblin, Mist 
Clarke, Mrs. Clarke, etc. 

Mr. C. Young had previously appeared al this thea- 
tre; Mr. Williams came from Philadelphia; Misi 
Placide from New Orleans. Mr. E. II. Conway had 
been ballet-master at the Surrey Theatre, and Miss 
Deblin was his pupil. 

The "star" engagements of this season were those 
of Miss Kelly, Cooper, Pelby, and Burroughs. .Mi- 
Kelly's benefit attracted a thousand-dollar house. Mrs. 
Burke, the singer before alluded to, a native of New 
York State, appeared, much improved as a vocalist. 

Mr. Finn, this year, brought out an original piece, 
dedicated to Hon. Daniel Webster. It was a national 
drama, entitled u Montgomery, or the Falls of Mont- 
morenri," and was very popular. 

On the 22d of February, 1825, the theatre was 
opened in honor of the anniversary of Washington's 
birth-day. The managers, to commemorate the event, 
offered a prize for an appropriate ode. Messrs. George 
Blake, John Pierpont, James T. Austin, Chas. Sprague, 
John Everett, Franklin Dexter, and N. L. Frothing- 
ham, were a committee to decide upon the merits of 
the contributions, and they unanimously awarded it to 
Ebenezer Bailey, Esq., for many years the popular 
principal of the Young Ladies' High School. The 
house was filled, and Mr. Finn gave the recitation with 
his usual excellence. 

Cooper, during the engagement this year, brought 
out " Caius Gracchus " for the first time. Mr. and 
Mrs. J. Barnes returned to Boston from Europe, and 



KECORD OF THE BOSTON STAGE. 225 

were performing an engagement on the 7th of April, 
when the great fire in Broad street occurred. 

At the Washington Gardens, the theatre was oc- 
cupied by an equestrian company, and the " Cataract 
of the Ganges " was brought out. 

The theatre closed early in the spring, but re-opened 
when Lafayette re-visited Boston in June. On the 
17th of June, 1825, the corner-stone of Bunker Hill 
Monument was laid in presence of the distinguished 
stranger, and Hon. Daniel Webster then delivered his 
great address. The enterprise of newspaper publishers 
had not then reached the height it has attained in more 
modern days, and extracts only were published. The 
address was, however, printed, and three thousand five 
hundred copies in pamphlet form, were sold in three 
days. On Monday, June 20, Lafayette attended the 
Boston Theatre, when " Charles the Second" was per- 
formed, and a new glrop-scene by Worrall, appropriate 
to the occasion, was produced. The dinner, given to 
Lafayette by the Massachusetts Mechanic Association, 
at which Samuel Perkins, Esq., presided, during this 
visit, was a notable event. Odes and poems were 
given or sung by John Everett, H. J. Finn, and Wil- 
liamson. 

Prior to the opening of the Boston Theatre for the 
season of 1825-6, the interior was re-painted and 
decorated, and the stage extended and improved. The 
company was composed of Finn, Kilner, Reed, John- 
son, Edgar, Williamson, Brown, Pelby; Mrs. Pelby, 
Miss McBride, Mrs. Powell, etc. Miss McBride, — 
afterwards quite popular at the Tremont, — made her 
15 



220 RECORD OF TIIE BOSTON STAfi !.. 

first appearance as Miss Hardcastle, on the lGth of 
September. 

At the City Theatre there was quite a good com- 
pany; Mr. Burroughs, Mrs. Warring, Mr. and Mrs. 
Fisher, and Phillips, gave the theatre a dramatic 
importance. In the month of October, Cooper brought 
out "William Tell," for the first time in Boston. 
Frederick Brown, who had, during an absence of 
several years, divided his time between Montreal and 
Charleston, S. C, returned. The debilitating effects of a 
southern climate were apparent, and his acting had not 
the force which formerly characterized it. 

On the 5th of December, 182.3, " Venice Preserved* 
was brought out at the Boston with Cooper as Pierre, 
Conway as Jaffier, and Mrs. J. Barnes as Behidera, 
and never probably was the play better performed in 
this city. The combination of such an array of talent 
attracted great houses, and their benefits were immense. 
Conway's benefit was on Monday evening, Dec. 19, 
1825, and marks the commencement of an interesting 
period in the history of theatricals in this city. The 
play was " Othello," in which Cooper and Mrs. Barnes 
exerted themselves to their utmost, and received the 
loudest plaudits for their efforts. At the close of the 
play it was announced that Mr. Kean was engaged, 
and would appear for four nights, on Wednesday, 
Thursday, Friday, and Monday next. The announce- 
ment was received with tokens of approbation and dis- 
approbation, but it was thought that the approvers were 
in the majority. Kean's return to this country was of 
a peculiar nature. It was during the interval between 



RECORD OF THE BOSTON STAGE. 227 

his two visits to America, that Kean lost his position in 
England both as an actor and a man ; and, for these 
causes, and a desire to replenish his exhausted coffers, 
he was induced to risk a second visit. Kean had 
become so negligent, and performed Othello and Rich- 
ard so disgracefully as to be hissed repeatedly in the 
course of the performance, and it was not till 1822, 
when Mr. Young appeared at Drury Lane, that Kean, 
who, for years had been without a competitor, was 
aroused from his lethargy. For a time he improved, 
and his temporary reform was more than counter- 
balanced by his subsequent descent. Kean's attach- 
ments to the fair sex were numerous, and it is said that 
he had a circular which he despatched to the succes- 
sive objects of his affection, which must have been 
couched in irresistible terms, for his conquests were 
frequent. The most disgraceful liason was that with 
Mrs. Alderman Cox, which was brought to public 
notice through the legal measures resorted to by the 
injured husband. The trial came off on the 17th of 
January, 1825. A mass of correspondence was brought 
forward, and the crime proved, and the result was a 
verdict for £800. The trial created a great sensation, 
and the town and the press were about equally divided 
on the subject, and though Kean's downfall, dated from 
this trial, there were those who regarded the whole 
matter as a piece of persecution, inasmuch as Alder- 
man Cox was in the constant habit of taking his wife 
behind the scenes, and was cognizant of her visiting 
Kean's dressmg-room. Kean's great mistake at this 
time, was the boldness and audacity with which he 
braved public censure, and by attempting to play, 



228 HKCORD OF THE BOSTON STACK. 

claiming public applause on the very heel of one of the 
most profligate displays ever made public. The peo- 
ple were so exasperated, that when he appeared at 
Drury Lane, they would not allow him to be beard, 
and though Elliston, the manager, shook bauds with 
him on the stage, and Kean made an exculpatory 
speech, it availed him nothing. In the conree of time, 
he regained in some degree, the ear of the public ; but 
he failed in reinstating himself in his old position, and 
therefore paid a second visit to America. 

Kean arrived in New York in the fall of 1*2"). His 
loss of position and fortune had affected his health, and 
his once proud spirit was humbled. Shortly after his 
arrival in New York, he published the following humil- 
iating card : — 

To the Editors of tin X, v York Go 
Sirs, — With oppre- . heart-rending to my friends, and 

triumphant to ni I make an appeal to that country !. 

for hospitality to the stranger, and mercy to the conquered. Allow 
me to say, sirs, whatever are my offences, I disclaim all intention of 
offering any thing in the shape of disrespect towards the inhabitants 
of New York ; they received me from the first with an enthusiasm, 
grateful in those hours to my pride, in the present to my memory. I 
cannot recall to my mind any act or thought, that did not prompt me 
to an unfeigned acknowledgment of their favors as a public, and pro- 
found admiration of the private worth of those circles in which I had 
the honor to move. 

That I have committed an error, appears too evident from the all- 
decisive voice of the public ; but surely it is but justice to the delin- 
quent, (whatever may be his enormities,) to be allowed to make 
reparation where the offences were committed. My misunderstand- 
ings took place in Boston. To Boston I shall assuredly go, to apologize 
for my indiscretions. • 

I visit this country now, under different feelings and auspices than 
on a former occasion. Then I was an ambitious man, and the proud 
representative of Shakspeare's heroes. The spark of ambition is 



RECORD OF THE BOSTON STAGE. 229 

extinct; and I merely ask a shelter in which to close my professional 
and mortal career. I give the weapon into the hands of my enemies ; 
if they are brave, they will not turn it against the defenceless. 

Edmund Keanv 
Washington Hall, Nov. 15$, 1825. 

Of Kean's first appearance in New York, various 
accounts were contained in the papers of the day. The 
house was crowded, and the friends and enemies of 
Kean were nearly equally divided, though the former 
carried the day. A newspaper partial to Kean remarks, 
that " when the curtain was drawn up, a peal of applause 
rose which resembled more the roar of the ocean than 
any thing else we ever heard, and in a few minutes 
after the mimic Richard himself appearing, the hisses 
blended themselves with the applauding, which con- 
tinued without a moment's cessation for the space of 
twenty minutes. The hissings, however, were com- 
pletely drowned in the applause. Mr. Kean made an 
attempt to speak, but it was impossible to be heard, for 
whenever the multitude of his friends stopped their 
shouting, his enemies immediately set theirs a going. 
A few persons in the slips and third tier kept hallooing 
out, "off!"-— "off!"— "Kean be off!" In one of 
the boxes of the first tier, a single gentleman, we pre- 
sume he was, with more than a usual portion of lungs, 
still kept up the hissing, but the rest of the audience in 
the box getting tired of it, rose up to a man and put 
him snugly out into the lobby, there to hiss as much as 
he pleased. 

At no one time was there more than one fourth of 
the house against him, and many are of opinion that the 
number of his enemies was far less — at least they 
diminished toward the conclusion. The hissing char- 



230 



RECORD OF TIIE BOSTON STAGE. 



acters were noted to be nearly all strangers, and the 
audience hallooed frequently, " Put the Bostonians 
out ! " — " away with the noisy Bostonians ! " — " away 
with Buckingham ! " — (alluding to Mr. Jos. T. Buck- 
ingham, the editor, who had been among the hading 
opponents of Kean since his contempt of a Boston 
audience,) — " off with his head!" — and such like 
exclamations. When the play was concluded, the cur- 
tain fell amidst reiterated shouts of applause, and Mr. 
Lee, in announcing Mr. Kean's next appearance on 
"Wednesday evening, in the character of Othello, was 
cheered to the very skies." 

Encouraged by this reception, which on the whole 
was more favorable than might have been expected, 
and relying upon the general acceptance of Kean's 
humble apology, the Boston managers made an engage- 
ment, which was announced as we have stated on the 
night of Conway's benefit. 

Kean arrived in Boston on Tuesday evening, and 
put up at the Exchange Coffee House ; and on Wed- 
nesday, December 21, '25, the following card appeared 
in the morning papers : — 

To the Editor, 

Sir, — I take the liberty of informing the citizens of Boston, 
(through the medium of your journal,) of my arrival, in confidence 
that liberality and forbearance will gain the ascendancy over preju- 
dice and cruelty. That I have suffered for my errors, my loss of 
fame and fortune is too melancholy an illustration. Acting from the 
impulse of irritation, I certainly was disrespectful to the Boston pub- 
lic ; calm deliberation convinces me I was wrong. The first step 
toward the Throne of Mercy is confession — the hope we are taught, 
forgiveness. Man must not expect more than those attributes which 
we offer to God. 

Edmund Kjean. 

Exchange Coffee House. 



RECORD OF THE BOSTON STAGE. 231 

This apology was received by some with contempt, 
and by others was deemed an ample atonement for past 
indiscretions, and during the day was the leading topic 
of conversation. The newspapers generally advised 
those opposed to Kean, to show their resentment by 
keeping away from the theatre ; but during the day, it 
was whispered here and there, that Kean would not be 
allowed to play, and early in the afternoon of "Wednes- 
day, Dec. 21, 1825, Kean being announced for Richard, 
the street in front of the theatre was filled with boys, 
who evinced a disposition to treat Shakspeare's repre- 
sentative with little regard. All the tickets were sold 
the day previous, and on the opening of the doors in 
the evening, every part of the house was soon crammed 
with males, not a female being present. The excite- 
ment inside the house was very evident, and the vocif- 
eration of those present commenced so soon as the house 
was packed. Outside there was a vast accumulation 
of people, attracted by curiosity, and evincing a dispo- 
sition for a row. Mr. Finn, one of the managers, soon 
appeared in front of the curtain. He was received 
with great uproar, chiefly from the gallery and third 
row — the boxes being principally occupied by the 
stockholders of the theatre, and friends to Mr. Kean, 
who were in favor of Kean's performing. Finn an- 
nounced Mr. Kean's intention to make an apology, but 
his voice was drowned in the shouts of the discontented ; 
and though an attempt was made to quiet the uproar 
by the orchestra performing, it was no evidence -in this 
instance, that 

" Music the fiercest grief can charm, 
And fate's severest rage disarm." 






232 



KECORD OF THE BOSTON STAGE. 



Mr. Kean appeared immediately afterwards upon the 
stage dressed in his every day clothes, and in a very 
penitent and humble manner seemed to ask forgiveness 
of the public, and to be desirous of making atonement, 
by ati apology. But the wild commotion of the the- 
atrical elements so completely astonished him, that he 
said not a word. He was pale and dejected, but was 
assailed by cries of — "off" — "off" — pelted with 
nuts, pieces of cake, a bottle of offensive drugs, and 
other missiles. lie was encouraged also with cries of 
" silence " — " hear Kean " — etc. Having been fairly 
pelted from the stage, Mr. Kilner, dressed for King 
Henry, came forward, and after consultation with those 
in the Mage box, was heard to say, "Mr. Kean wishes 
to make an apology — an humble apology from his 
heart and soul ; but lie will not do it at the risk of his 
life." Cries of— " off" — " off" — and — " his hypo- 
critical heart " — was the response. One or two gen- 
tlemen in the boxes attempted to speak, but they were 
not heard ; but those in the boxes giving some encour- 
agement that the apology might be heard, Kean made 
his second appearance. No intermission of the uproar 
took place, and he retired to the green-room, where, it 
is said, he wept like a child. 

Finding it impossible to be heard, the managers then 
•held a written communication with the audience, and a 
placard was exhibited on which was written, " MR. 
KEAN DECLINES PLAYING," which was re- 
ceived with laughter. A second placard then asked 
the question: "SHALL THE PLAY GO ON 
WITHOUT HIM ? " This was answered in such an 
equivocal manner, that the managers thought they 



RECORD OF THE BOSTON STAGE. 233 

might as well retain the receipts of the house, and the 
tragedy began ; but the vociferations prevented it from 
being heard. After the first act had been performed 
in dumb show, Mr. Finn, who was dressed as Richard, 
in answer to repeated calls for Kean, stated that he 
had left the theatre, and the curtain was dropped. 

In the meantime, the mob without had become ex- 
cited to phrenzy, and made several assaults upon the 
house ; and the audience within began to think not so 
much of Kean as of their own preservation from dan- 
ger. The rabble began to assail the lamps, the windows, 
and the entrances to the boxes, gallery, and pit. A 
large party succeeded in making a lodgment in the 
lower lobbies, after having been repulsed. The few 
police officers present were soon overpowered, but 
the gentlemen of the boxes maintained their ground 
manfully for some time. Mr. Kean having left the 
house, it was difficult to divine the objects of the assail- 
ants. The occupants of the pit made a retreat by the 
stage over the orchestra. 

The audience who were in the second tier of boxes 
found themselves in a most trying situation. The fierce 
conflict with brick-bats, clubs, etc., at the stairs and 
doors, effectually shut out their means of retreat, and 
they were compelled to await in anxiety, and witness 
the increasing outrages, and approach of the immense 
mob without, expecting every instant when the internal 
resistance would be cloven down, and the thronging 
rabble precipitate them into the pit, or maim them with 
deadly missiles, or crush them to death in the lobbies. 
The sense of confinement, joined to the apprehension 
of fire, rendered their sensations painful beyond descrip- 
tion. 



234 RECORD OF THE BOSTON STA 

In this fearful juncture, the formidable height of the 
windows did sol prevent them from being used 

mode of escape. One person swung himself out of a 
window, about twenty-five feet from the ground, and 
upon a thin, narrow board, made his descent about 

twelve feet on to the frail roof of a small tenement. 
He was afterwards followed by hundreds. 

The rabble without, aided by friends within, were 
finally enabled to take possession, and they had it all 
their own way; most of the occupants of tin; 1. ■ 
having made their escape, by the window- or over the 
stage. Windows, chandeliers, seats, box-doors, became 
objects of wanton destruction ; but several citizen-, who 
took possession of tie- stage, protected tin- scenery, at 
the hazard of life and limb, from molestation, and 
perhaps from lire. 

The pit was the scene of several severe tustles ; and 
though an awkward place for a fight, many came to 
blows, and were more or less injured. During the riot, 
Mr. Justice Whitman read the riot act twice, advanced 
to the front of the stage, and attempted to address the 
rioters, but without effect ; as he was unable to carry 
into execution the provisions of the law, from the small 
number of civil and police officers collected. Those 
who were present, with the sheriff, aided by the citizens, 
exerted themselves to prevent the rioters from entering 
the house, and to arrest those who were in it, but with 
little success; and several in the discharge of this duty 
were injured by the stones and other missiles hurled 
from the darkness, but none materially. A few citizens 
with a magistrate, in execution of the law, proceeded 
to the upper parts of the house, and immediately dis- 



RECORD OF THE BOSTON STAGE. 235 

persed a gang there engaged in the destruction ; which 
was found to consist principally of strangers and mis- 
chievous boys. 

The theatre was damaged to the extent of about 
$800, and, in the opinion of many present, the riot 
might have been prevented by the timely arrest of 
some dozen leading rowdies. Those opposed to Mr. 
Kean had not anticipated such a result ; the extent of 
their plan was to prevent Mr. Kean's acting, and when 
this was accomplished they were satisfied; but they 
had kindled the spirit, and it vented itself in this most 
disgraceful riot. The police at that time, if the few 
who were qualified to protect life and property are 
entitled to so dignified an appellative, were not organ- 
ized — and an unorganized body can do but little in 
quelling a disturbance. The following was issued : — 

" A CAED. 

The managers of the Boston Theatre return their sincere and 
thankful gratitude to those gentlemen who, at personal risk of their 
lives, so kindly and promptly afforded protection to their property 
behind the curtain, from the violence and illegal attacks of a 
mob, that forcibly entered the theatre on Wednesday evening last, 
and committed an unprecedented outrage by breaking the chandeliers, 
box-doors, windows, etc., and destroying other property to a large 
amount. Legal measures have been taken to bring the offenders to 
punishment. In the meantime, every exertion -will be used to repair 
the extensive damage, and they hope they shall be enabled to an- 
nounce the re-opening of the theatre on Monday, Dec. 26, with the 
domestic tragedy of" George Barnwell." 

Mayor Quincy was not present at the riot. It has 
been supposed that he adopted the principle, that they 
who put a firebrand into the theatre must bear the con- 
sequences. The mayor, however, had power only as a 



23G 



RECORD OF TIIK IIOSTON STACK. 



"Justice of the Peace;" and Justice Whitman heing 
already on the ground, he refused personally to inter- 
fere. The hoard of aldermen immediately took occa- 
sion from this transaction to pass an order, " that all 
theatrical exhibitions or public shows, which hereafter 
may be licensed by the board, shall be liable to be 
revoked or suspended, notwithstanding the terms of 
such license, whenever, in the opinion of the mayor and 
aldermen for the time being, the same shall be necessary 
to preserve order and decorum, and to prevent the 
interruption of peace and quiet;" and the following 
remarks in the mayor's inaugural address are supposed 
to have had reference to the same : " If a case has oc- 
curred, or should hereafter occur, in which any person 
should, in defiance of the moral sense and general feel- 
ing of the public, adopt any measures which would 
naturally and almost unavoidably lead to disorder and 
disturbance, they could not reasonably invoke the aid 
of the authorities of the city government, so long as the 
invited evil was confined to themselves only ; but it is 
a question of very serious moment, with the inhabitants 
of a city so distinguished for its religious and moral 
character, whether farther checks ought not to be pro- 
vided to prevent that which has been merely tolerated, 
from becoming the source of disturbances, of danger, 
and of disgrace, to the citizens and their government." 

The managers, by employing a large number of 
workmen, were able to accomplish the task of re-fitting 
the theatre ; and on Monday evening, the moral play 
of " George Barnwell," with " Rumfustian," and the 
" Forty Thieves," were produced to a good house. 

Mr. Kean escaped from the theatre before the riot 



RECORD OF THE BOSTON STAGE. 237 

reached its height, by passing through Mrs. Powell's 
house, in Theatre Alley, which, adjoining the theatre, 
had a door to communicate with it. We have heard 
that Kean slept that night at the " Lamb Tavern," and 
left the next day ; but we believe the most authentic 
account is that we have received from " Tim Divol," 
who for years drove a hack for Niles, and who, early 
in 1853, was found drowned near Charlestown bridge. 
He drove Kean and Kilner to Brighton, where the 
former took the stage from Boston for Worcester. 
Kean soon after appeared at Albany, Montreal, Phila- 
delphia, and Baltimore. At the latter place there was 
an attempt at a riot, whether to show resentment for 
the insult offered a Boston public, or to reprove Kean 
for his immorality, we do not know. His friends, how- 
ever, anticipating trouble, displayed a banner when the 
shouting commenced, requesting those in his favor to 
remain silent, which had the effect of singling out the 
evil disposed, who soon saw their weakness, and desisted 
from further attempts to imitate the mobocratic and : 
disgraceful feats -of the Boston rowdies. Many may 
perhaps think that the coloring we have given to this 
affair is favorable to Kean ; but time has softened the 
asperities even of Kean's most inveterate enemies, and 
though he was guilty of unpardonable insolence towards 
the public, the retaliation was unbecoming an enlight- 
ened community. Had the affair terminated with 
driving Kean from the stage, we should acquiesce in 
the verdict ; but scenes of violence have no apology, 
especially when the innocent, as in this case, suffered 
more that the guilty. 

Miss Kelly came after the Kean riot, and was sue- 



238 



RECORD OF THE BOSTON STAGE. 



ceeded by Hamblin, formerly the manager of the 
Bowery Theatre, New York. Mr. and Mrs. Cleorge 
Barrett also appeared, and "Cherry and Fair Star" 

WBI brought out this season for the first time. Cooper 
and Mr. and Mrs. J. Baril6fl were also here, but the 
houses were not remarkable ; and the effect of the 
Kean riot had not worn olf when the theatre closed. 



CHAPTER XVI. 



The City Theatre. — Mivlzel's Automaton Chess Player. — Mr=. 
Pelby. — Williamson. — Bin. Baxnblin. — Forest. — Macready. — 
Macready'e First Appearanee in Boston. — Tickets at Auction. — 
Paul Pry. — First Appearance of Edwin Forest. — Receipts. — A 
Sketch of Edwin Forest, etc. etc. 

In the summer of 1826, the citizens were supplied 
with amusement at the City Theatre, formerly the 
Washington, where Mr. Stimpson with an equestrian 
and dramatic company, composed of Messrs. Ricker, 
Whitaker, Laforest, Mrs. Godey, Mrs. Benjamin, Mr. 
and Mrs. Eberle, and Mr. Richards, gave entertain- 
ments. Madzel's Automaton Chess Player at Julien 
Hall, puzzled the quid nuncs — the discovery not then 
being made of the real automaton inside, who, on a cry 
of " fire ! " started by some wag, made a rapid exit 
from his limited quarters. 

The season at the old house commenced September 
25th. Mr. and Mrs. Blake were announced to appear, 



RECORD OF THE BOSTON STAGE. 239 

but owing to some caprice, did not make their appear- 
ance, and a Mr. Stanley was substituted ; he was a 
very good actor in genteel comedy. Kilner did not 
appear during the early part of the season, having 
broken his leg. Mrs. Papanti and Mr. Brown were 
added to the company. Mr. Pelby made his first 
appearance after his return from Europe, and a critical 
remark then made gives an accurate idea of his abilities. 
" His voice," says a newspaper, " is not good ; and we 
have to regret, that by this fault of nature, his talents 
as an actor, which are of no ordinary cast, can never be 
duly appreciated." 

Williamson played Count Belino, in the " Devil's 
Bridge," to Mrs. Papanti's Rosalvini. The lady was 
pronounced of a higher order as a vocalist than any 
that had appeared for many years. 

Mrs. Hamblin, wife of Tom Hamblin, appeared in 
October, 1826, and was an interesting actress. This 
season was marked by the first appearance before a 
Boston audience of two persons, whose career have 
been among the most prosperous ever recorded in the- 
atrical annals, and for many years have, been the 
representatives of the American and English stage. 
"We allude to Forrest and Macready. 

The latter, then fresh from Europe, made his first 
appearance in Boston, on Monday, October 30, 1826, 
in the character of Virginius, to a crowded and fash- 
ionable house. Hon. Daniel Webster was present, and 
on his entering, was received with cheers. Macready 
performed during his engagement, Macbeth, Damon, 
William Tell, Hamlet, and repeated Virginius and 
other characters. 



240 RECORD OF THE BOSTON STAr. I . 

The demand for tickets was very great, and specu- 
lators reaped a rieli harvest The managers endea- 
vored to put a stop to it, but their efforts proving futile, 
they adopted the only satisfactory course — that of sell- 
ing at auction — in Merchants' Hall. The premium 
received on the sale of tickets for his benefit, \ 
$892.50, and daring the whole time, about S1000. 
Mr. Macready was indisposed one evening, during the 
engagement, and did not play. On his last night, he 
was called out, and announced that before he returned 
to Europe, he should have the pleasure of re-visiting 
Boston. Mr. Cooper followed immediately upon Mae- 
ready's heels, and appeared in the same range of 
characters, supported by Mrs. Gilfert. 

In December, Mr. Finn brought out "Paul Pry" 
with the following cast: — Col. Hardy, Kilner ; Frank 
Hard i/. Mr. Williamson; Harry Stanley, Stanley; and 
Paul /Vy, Mr. Finn; — one of his best impersonations. 
Mrs. Subtle, Mrs. Barnes ; Eliza, Mrs. Papanti ; Maria, 
Miss McBride ; Phoebe, Mrs. Pelby. The piece took 
well, owing to Mr. Finn's inexhaustible fund of humor, 
and had a good run. "Aboun Hassan/' a dull piece, 
was produced ; and " The Lady of the Lake " dra- 
matized by Mr. Cambridge. A Bostonian made his ap- 
pearance as Rolla. 

On the 5th of February, 1827, Mr. Edwin Forrest 
made his first appearance in Boston, opening in his 
great part of Damon, Mr. Finn appearing as Pythias. 
Mr. Forrest also appeared as William Tell, Sir Edward 
Mortimer, Othello, Lear, Richard the Third, and on the 
23d inst., performed Rolla, a character eminently his 
own. At that time he gave glorious promise of his 



RECORD OF THE BOSTON STAGE. 241 

subsequent splendid career. Every one was pleased 
with his style, and he was pronounced the Kemble of 
the country. 

The receipts during this engagement, were as fol- 
lows : — 

1827. Feb. 



5th, 


Monday, Damon. 


. $84:1 50 


7th, 


Wednesday, Wm. Tell, . 


. 457 75 


9th, 


Friday, Iron Chest, 


526 50 


12th, 


Monday, Othello, 


. 412 00 


14th, 


"Wednesday, Lear, 


405 50 


16th, 


Friday, Wm. Tell, . 


. 408 00 


19th, 


Monday, Eichard HI., 






(Forrest's Benefit.) 


945 00 


21st, 


Wednesday, Damon, 


. 453 75 


23d, 


Friday, Pizarro, . 


760 00 



Total, $4,710 00 

More than a century has now elapsed since the first 
theatrical representation in this country was given, by 
a band of English actors in Virginia, and during that 
long period of time, the histrionic art in this country 
has flourished, we regret to say, not by the representa- 
tions of native actors or native productions, but its 
most efficient supporters have been of English parent- 
age, and the most popular plays of foreign emanation. 
"We may, perhaps, claim the pride which a father has 
in an adopted son, in the person of Cooper, whose 
youthful efforts first met encouragement in this country,, 
and whose genius was developed by generous patron- 
age here ; — and to Booth we feel bound by that tie of 
kindred, which the stranger feels in the exiled, who, 
cast off and persecuted at home, is warmed into life, and 
receives fresh impulses under a more genial sky ; — but 
16 



242 



RECORD OF THE BOSTON STAGE. 



in Cooke and Kean, the two brightest stars which have 
visited our theatrical iinnament, and a host of others 
who have wandered to our shores — some to become its 
adopted citizens, and some to gather the golden plaudits, 
and then return to the land of their birth — we take no 
pride, save that which is reflected from the act of en- 
couraging talent irrespective of nation. 

It is true, that now and then an actor has sprung up, 
who gave promise of a brilliant future, but whose 
career has either been shortened by death ere the fulfil- 
ment of our hopes was attained, or who fell a victim to 
extra vagant applause or vicious habits, ere the Thes- 
pian wreath graced his brow ; but we have no lengthy 
catalogue of actors to point to, as the proud pillars of 
the American drama. There is, however, one who 
stands out prominent as the great American star, who is 
to this country what Talma is to France — what Gar- 
rick is to England — the noblest representative of his 
nation's drama — aye, we may say, more the creator of 
our national drama — for Edwin Forrest has done 
more, individually, than all the theatres in the country 
combined, to draw forth and reward the talents of 
native dramatists. Edwin Forrest was born on the 
9th of March, 1806, in George street, Philadelphia, 
and early in life was the member of a company of 
amateur actors, who gave private entertainments to 
their friends in the old Apollo in South street, which 
they hired on special occasions. He was at one time 
in the counting-house of J. R. Baker & Son, German 
Importers, but his mercantile habits were not remarka- 
bly exemplary, owing to his love of the drama. His 
first appearance in public was in 1818, when he played 



RECORD OF THE BOSTON STAGE. 243 

Norval at the Tivoli Garden. On the 27th of Novem- 
ber, 1820, he made his second appearance in that char- 
acter, at the Walnut Street Theatre, and played Octa- 
vian for his benefit, January 6, 1821. Mr. Forrest 
was warmly applauded by his friends, but young as he 
then was, he became fully conscious of the necessity 
of self-dependence, and resolved to apply himself 
thoroughly to his profession. Having an opportunity 
to visit the western theatres, he accepted an engage- 
ment in 1822, which was with Messrs. Collins & Jones 
in Cincinnati, where he played the subordinate charac- 
ters, by which he gradually qualified himself for that 
proud position he at present maintains. We have seen 
it stated, that Forrest, while at the West, played the 
character of a negro dandy, and that he at one time 
entertained a serious idea of joining a circus company. 
If this is true, the more does it reflect to his credit. 
The elder Kean icas at one time an equestrian per- 
former, but we do not know that it ever detracted from 
the pleasure of witnessing his masterly performances, 
or that the fact that Mr. Forrest was willing to oblige a 
manager or to gratify himself, or by necessity " blacked 
up " for a part, ever rendered his Othello less effective, 
or his Richelieu less imposing. After an absence of 
several years, he returned to the North, and fulfilled a 
successful engagement at the Albany Theatre, then 
under the management of the eccentric Charles Gilfert, 
whose powers of persuasion were so strong, that he 
could always prevail upon the sheriff to go bail for 
him after arresting him. In the summer of 1826, Mr. 
Forrest visited his native city, and from that time 
rapidly rose in his profession. Mr. Forrest appeared 



244 KKCORD OF THE BOSTON STA<;i.. 

subsequently in Washington and in New York, where 
■ paper remarked \ — 

"Endowed with a versatility of powers unequalled 

at this time on the American, and unsurpassed on the 

English stage, it may with truth lie said, thai Mr. For- 

rest possesses within himself the 'elements of great 

and though 

' hard it is to climb, 



The steep where I 'lines afar,' 

jet, if he judiciously husbands his resources, and tem- 
pers with discretion the exercise of his powers, he may 

select his own point of eminence, and, with an eagle's 
flight attain it." 

Mr. Forrest, as early as 1829, made his first attempt 
to encourage native talent, by offering a prize of $500 
for the best written tragedy founded on American 
History. The successful competitor was J. A. Stone, 
Esq., who produced "Metamora," which was first per- 
formed in New York, December 15, 1829. The suc- 
cess of the play was great, but it was not needed to 
give popularity to Mr. Forrest, who, previous to its 
production did an immense business, the houses averag- 
ing $1,000 per night, and on the night of his benefit 
there was $1,370 in. The play of " Metamora " was 
followed by Dr. Bird's " Gladiator," for which Mr. 
Forrest paid a remunerating price to the author. This 
piece was followed by "Oralloosa," etc. His gene- 
rosity in recompensing dramatic authors, gave an im- 
pulse to that branch of literature, which had a bene- 
ficial effect for many years. In 1833, on the occasion 
of the Dulnap benefit in New York, Mr. Forrest 



RECORD OF THE BOSTON STAGE. 245 

played Pierre to Kemble's Jaffier, Fanny Kemble ap- 
pearing as Belvidera. In the early part of the year 
1834, Mr. Forrest signified his intention of visiting 
Europe, and soon afterwards sailed for Havre, the citi- 
zens of New York having given him a farewell dinner 
prior to his departure. He visited Italy, and extracts 
from his letters to private friends were frequently 
published. In 1836, Mr. Forrest paid his first profes- 
sional visit to England, and made his first appearance 
on the London stage on the 17th of October, 1836. 

It was during this visit that Mr. Forrest was married 
to Catherine Sinclair, daughter of John Sinclair. 

Mr. Forrest's return to this country was a complete 
ovation. Everywhere he was received with the most 
flattering marks of approbation, and the receipts of the 
first three nights at the Park Theatre, New York, 
amounted to $4,200. For several years Mr. Forrest 
continued to perform in every city of the Union with 
the most marked success, and his advent was looked for 
with impatience by his many admirers and lovers of th 
drama. In 1845 Mr. Forrest paid a second visit to 
London, and while performing at the Princesses' The- 
atre, was hissed during the performance. This indignity 
Mr. F. attributed to Macready's influence. Mr. Forrest 
subsequently hissed Macready in Edinburgh, for what 
he considered a violation of good taste by the introduc- 
tion of a pas de mouchoir in " Hamlet." These acts 
were the commencement of that sad tragedy in real 
life, which terminated in the riot at the Astor Place 
Opera House, New York, on the night of the 10th of 
May, 1849, when twenty-two were killed, and thirty- 
six wounded. On the 9th of February, 1852, Mr. 



246 



KECORD OF THE BOSTON STAGE. 



Forrest made his first appearance after the verdict in 
the divorce case of Forrest v. Forrest had been given, 
at the Broadway Theatre, New York. His success 
was immense, and the engagement continued till April 
30th, a period embracing sixty-nine mciits ; an 
engagement unparalleled in the annals of the American 
stage. At the conclusion of this triumph, the company 
presented him with a gold-headed cane, and he was 
serenaded at his hotel. 

Mr. Forrest, considered as an actor, would occupy 
more room than we can afford at this time. A writer 
remarked of him nearly a quarter of a century ago : — 

"An American by birth, education, and feeling, he 
has been the architect of his own reputation ; with no 
adventitious aid, he has formed his style of acting from 
the study of nature, and tin; dictates of his own judg- 
ment. In addition to a fine natural genius for the 
stage, Mr. F. possesses, in an eminent degree, the 
physical requisites of a great actor — a person of fine 
proportions — carriage graceful and commanding — 
voice full and powerful — a face beaming with intellect, 
and capable of portraying the passions in their deepest 
energy ; to which are superadded the advantages of a 
taste matured by study and observation, and a constitu- 
tion which sustains him in uninterrupted exercise of his 
arduous profession. Nature having been thus bounti- 
ful to the subject of these remarks, he has shown 
that her benefits have not been unappreciated or mis- 
applied." 

We need add nothing farther, for what was then 
uttered will find a responsive approval from all who 



RECOKD OF THE BOSTON STAGE. 247 

have witnessed Mr. Forrest's impersonations during 
the past year in Boston and New York. 

Mr. Forrest has been frequently solicited to permit 
his name to be used as candidate for public office, by 
his democratic brethren. This he has refused, seeking 
no other honor than that he could legitimately lay hold 
on, in his arduous professional career. 



CHAPTER XVII. 

Macready's Reappearance. — Mrs. Knight. — The Washington The- 
atre. — The Mermaid. — The Project of a New Theatre. — Mr. 
William Pelby. — Act' of Incorporation. — Departure of Mr. Finn 
for Europe. — Opening of the War between the Rival Houses. — 
Tom Flynn. — George Andrews. — Miss Rock. — Baron Hacket. 
— The Two Dromios. — Miss Clara Fisher. — Opening of the 
Tremont Theatre. — The Prize Address. — The First Struggle for 
Supremacy. 

Immediately after Forrest's engagement, Macready 
reappeared, announced as " positively the last visit he 
can ever have the honor of paying Boston ; " a state- 
ment which, however true for the time being, has not 
been confirmed, as the gentleman has frequently ap- 
peared in this city since then. The engagement was 
very successful. Mrs. Knight, formerly Miss Povey, 
appeared at the Boston, but did not create the sensation 
she had in New York. As a vocalist, she was very 
good, and possessed considerable talents as an actress. 



248 



RECORD OF Till: BOSTON STAGE. 



The benefit Beacon eame on, and on the occasion of 
Bliss IYlity's benefit, her father and mother appeared 
with herself, in '-William Tell." 

The Washington Theatre, formerly the City Theatre, 
which, by the way, changed name with every man.: 
in the. month of May was opened by Mr. Burroughs, 
who brought the company from the Lafayette and 
Albany theatres, which consisted of Mr. Thayer, (who 
made his debut in Boston as a m< mber of the l'liilo 
Dramatic Society.) Mrs. Walstein, .1. Mills Brown, Mr. 
Reed, Mrs. MeBride, and others. The ringVas con- 
verted into a pit, and attempts were made to do the 
legitimate, but Mr. Burroughs found in the course of a 
short time that he had attempted a fruitless task. lie 
had during the summer, also, a very powerful com- 
petitor. A distinguished visitor from the Fejee blandi 
had arrived in town, and taken rooms at No. 8 Scollay's 
Buildings, where, surrounded by marine shells and a 
few of the native productions of her country, she held 
levees, day and evening, which proved very attractive. 
The same mermaid, after various travels, has finally 
settled down at the Boston Museum, where she can be 
seen in all her beauty. 

Early in February, 1827, the project of a new theatre 
was broached. Notwithstanding the excellent manage- 
ment at the old house, a strong feeling of opposition to 
it was manifested, which dated from the Kean riot. 
The theatre had been but poorly supported, and this 
decline, which should have been attributed to the true 
causes, — the fickleness of the public, the commencement 
of lectures, etc., was alleged to be the result of feeble- 
ness on the part of the managers, to cater acceptably 



RECORD OF THE BOSTON STAGE. 249 

for the public taste. At this period, a difficulty occur- 
red between the late William Pelby and the managers, 
Messrs. Finn and Kilner, of the old theatre ; he de- 
manding, as an actor, exorbitant terms and privileges, 
which being denied him as unusual and unjustifiable, 
caused him to seek out his friends, who rallied around 
him under the idea that William Pelby had been shut 
out from this theatre, and that he had been proscribed. 
The quarrels of actors and managers were then subjects 
9 of which the general public took cognizance, and often- 
times sided with or against, making a very small affair 
oftentimes a question for a party division. Mr. Pelby's 
friends were determined to see him righted, and the 
building of a new theatre was proposed. This was the 
origin of the Tremont Theatre, though its erection sub- 
sequently became a matter of private speculation. At 
a meeting of gentlemen of wealth and influence, holden 
at Concert Hall, in the early part of February, 1827, Mr. 
Pelby guaranteed to the shareholders eight per cent, 
per annum, for ten years, on the cost. The stock was 
taken up, and the stockholders numbered about six 
hundred, which, twenty-five years ago, comprised most 
of the leading theatre-goers of the city, whose influence 
was naturally in favor of the new theatre ; and in 
March, 1827, the following organization took place : — 
Trustees — Edward H. Robbins, Jr., Wm. P.Mason, 
Charles F. Kupfer, Sen., Willard Badger, and Augustus 
Peabody, Esqrs. Secretaty — W. P. Gragg, Esq. 
Treasurer — W. H. Gardiner, Esq. Building Com- 
mittee — E. H. Robbins, Jr., James Page, James 
McAllaster, Alpheus Carey, Joseph H. Thayer, John 
Redman, and Solomon Towne, Esqrs. 



250 RECORD OF THE BOSTON STA 

A site of land was the ne xt step to be taken. It 
was proposed to buy the Washington Garden property, 
and erect there a first clast theatrical temple, and some 

of the stockholders of the theatre in Federal street v, 

disposed to sell the whole of their property, but the 

land in Treinont (then Common) street was finally 

■gre ed upon and purchased. It bad been previously 

used for Gragg & Brigham'fl livery stables. The foun- 
dation walls were laid in May. There was some trouble 
in naming the theatre. It was proposed at first to call 
it the " Franklin," the " Columbia," etc. etc. ; but in 
June, the trustees agreed that the edifice should be 
designated the Trk.mont THEATRE, and the application 
made to the legislature for an act of incorporation was 
made in the name of the u Stockholders of the Tremont 
Theatre." 

As a matter of record, we give below the act of in- 
corporation. Only two of the gentlemen, who peti- 
tioned for it, survive: — 

Commonwealth of Massachusetts, A. D. 1827. 
AN ACT 

TO INCORPORATE THE PROPRIETORS OF THE TREMONT THEATRE. 

Sec. 1. Be it enacted by the Senate and House of Representatives, 
in General Court assembled, and by the authority of the same, That 
Thomas H. Perking Edward D. Chirk, Charles F. Kupfer, Thomas 
Brewer, John Bedman, and Oliver Mills, and all such persons as are 
or may be associated with them, for the purpose of erecting and 
keeping a theatre in Boston, and their successors, be, and they are 
hereby made a Corporation, by the name of the Proprietors of the 
Tremont Theatre ; and by that name they may sue and be sued, have 
a Common Seal, and have and enjoy all the powers and privileges, 
and be subject to all the duties incident to Corporations; and they 
shall have power to make, and at their pleasure to alter, such by- 
laws, for the management and regulation of their corporate property 
and concerns, as to them may appear expedient; provided, the same 



RECORD OF THE BOSTON STAGE. 251 

be not repugnant to the Constitution or Laws of this Common- 
wealth. 

Sec. 2. Be it further enacted, That said Corporation be author- 
ized to purchase, take and hold, the land on which said Proprietors 
are now erecting a Theatre on Common street, in the city of Boston ; 
and such other real and personal estate as may be the necessary and 
proper appendages of a Theatre, and manage and direct the opera- 
tions of the same as a corporate body ; provided, the whole real 
estate shall not exceed one hundred thousand dollars, and the per- 
sonal estate shall not exceed fifty thousand dollars. 

Sec. 3. Be it further enacted, That the said corporate property 
shall be divided into shares of equal value, and no transfer of a share 
shall be valid, until such transfer be recorded by the Clerk of the 
Corporation; and such shares maybe attached on mesne process, 
and taken and sold on execution according to law. 

Sec. 4. Be it further enacted, That any one or more of the per- 
sons named in the first section of this act, be authorized to call the 
first meeting of said Proprietors, for the purpose of organizing the 
Corporation, to be holden at such time and place as he or they shall 
appoint, by giving ten days notice thereof in an advertisement, to be 
published in one or more of the Boston newspapers. 

Sec. 5. Be it further, enacted, That this act may be altered, 
amended, or repealed, at the discretion of the Legislature. 
[Approved by the Governor, June 16th, 1827.] 

On the fourth of July, the same year, (1827,) the 
corner-stone was laid. It is at the north corner, front- 
ing on Tremont street. No ceremony of any note took 
place. A few remarks were made by the chairman of 
the building committee. A box containing copies of 
the newspapers of the day, English and American 
coins, and a copy of the act of incorporation, was 
securely soldered by Edward D. Clark, Esq., the well 
known auctioneer, and placed beneath. Inside of the box 
was the following record engraved on a silver plate : — 

COMMONWEALTH OF MASSACHUSETTS. 

On the fourth day of July, in the year of our Lord one thousand 
eight hundred and twenty-seven, and the Independence of the 



'l.rl i:i.( ORD OF I in. BOSTON - I I 

Unite fifty secon riptfon was 

died by tin- Proprietor! <<i' the Tremont Theatre, in token of 

laying ' 

r — W. II. Gardiner* 
Washington I'. 1 1 

'tin— Edward EL Bobbins, Jr., Oliver Mills, John 
Bedman, Solomon Towne,Ji I carles 

F. Knpfer, Edward I>. Clark, Alphetis Gary. 
Archil* (t — bail 

- < — William Pelby. 
Prtnd *■' of /' let — John Qnincy A<huns. 

raw Of .'/ - I.<\i Lincoln. 

ah <^uincy. 

There is a slight change between the li-t first 

of tin* first 1 > 1 1 i 1 < 1 i 1 1 lt committee and the last, which fU 

made dnriog the process of erection. 

The theatre was en ttted in a very short time. Its 

heavy granite front at that time was the admiration of 
the people, and the papers of the day recorded its 
progress with pride. Mr. Pelby offered, early as May, 
18*27, a premium of one h\n<<ln<l <l<>llars in money or 
plate to the author of the best poem, of not less than 
fifty or more than seventy lines, to be recited at the 
opening of the theatre, and a committee was appointed 
to award the prize. • 

The proprietors and managers of the old theatre 
were determined, however, not to allow the rival house 
an easy conquest, and Mr. Finn was despatched to 
England for recruits, and the interior of the theatre 
was thoroughly renovated. The excitement produced 
by this state of things was very great, equalling almost 
that which now precedes a local election. Many — 
and especially the older portion of the community — 
adhered to the " Old Drury." It was there that they 



RECORD OF THE BOSTON STAGE. 253 

had first beheld Hodgkinson, Fennel, Cooke, Cooper, 
and others, and their associations with the house were 
of too pleasant a nature to be broken off for any trivial 
cause, and their affections too permanently located to 
be won by any new beauty. There were others who 
were equally partial to the new house — they had 
either been instrumental in its erection, or were at- 
tracted by the novelty of the project; and, conse- 
quently, as the time approached for the opening of both 
houses, there was some little boasting about the rela- 
tive merits of the two companies engaged, Finn, hav- 
ing arrived from England with strong reinforcements 
per Coral and Broohline, and Pelby, having scoured 
the American market, offering large salaries for any 
available talent. 

The Federal Street commenced the campaign on the 
17th of September, 1827, with the " Rivals " and the 
" Young Widow." The company consisted of several 
recruits from England. 

Mr. Thomas Flynn, from the respectable provincial 
theatres and the Haymarket, was engaged as principal 
tragedian. Poor Tom died a few years since, poor as 
poverty. His career was a remarkable one, and his 
tomb-stone should bear the inscription, " He was his 
own worst enemy." Tom Walton, from the Theatre 
Royal, York, England, came out as principal singer. 
Mr. Geo. Andrews, who married Miss Woodward from 
the Liverpool "boards," as low comedian, Mr. King 
from Drury Lane, and Miss Rivers as leading actors. 
Miss Rock came out as a star. Mr. and Mrs. Bernard, 
(formerly Miss Tilden,) and Mrs. C. Young, were 
important additions from other theatres in the country. 



254 RECORD OF THE BOSTON STAGE. 

The remains of the old stoek corps were Messrs. Kilner, 
Finn, Clarke, Charnock, etc. ; and among the ladies, 
Mrs. Finn, Mrs. Barnes, Mrs. Papanti, Miss Clarke, 
and Miss 0. McBridc. 

With such a corps dramatique now, a manager could 
bid defiance to all rivalry. But these attractions were 
not the only ones, for Mr. and Mrs. Barnes appeared, 
the latter appearing as Richard. Miss Rock, an actress 
of uncommon versatility of talents, also came out, and 
for her benefit, performed in the " Bride of Lammer- 
moor." Mr. and Mrs. Duff — always great favorites — 
and the best Calanthe, pronounced by many that ever 
trod the Boston "boards," with May wood — excellent 
as Sir Archy in the "Man of the World" — were 
among the attractions. Mr. and Mrs. Blake appeared. 
Ilacket made his first appearance in Boston, at this 
theatre, in October, and appeared in the " Comedy of 
Errors:" — Dromio of Ephesus, Ilacket; Dromio of 
Syracuse, Barnes. Without any personal resemblance 
to Mr. Barnes, save a general conformity as to size, 
Mr. Ilacket contrived by a perfect similarity of dress, 
and a wonderful imitation of Barnes' manner of speech 
and tone of voice, to render it sometimes doubtful 
whether Barnes — and not Hacket — was speaking. 
The town ran to see this performance* and filled the 
house nightly. Ilacket, at that time, introduced imita- 
tions of Kean, Cooke, and others, which were very 
good. 

Mr. Forrest also performed two engagements ; the 
first, supported by Miss Rock, Mrs. Duff, Flynn, etc. ; 
and the second, by Miss Placide. At the close of his 
first engagement, he had retired to his hotel, when the 



RECORD OF THE BOSTON STAGE. 255 

audience called for him. He was sent for, and returned, 
delivering a very neat speech. 

The 19th of November, 1827, witnessed the first ap- 
pearance, in this city, of Miss Clara Fisher, who 
opened in Albina Mandeville, in the " "Will " — a part 
Miss Rock had performed i% to the delight of all. She 
appeared also in Goldfinch — one of Mathews' favorite 
characters, and her success was complete. A Phila- 
delphia newspaper, on the occasion of Mrs. Maeder's 
appearance in that city, recently remarked : — "It is 
now twenty-four years since Clara Fisher, then a girl 
of seventeen, trod these boards in the gay day of youth, 
triumphing by her hilarity of manner, and her brisk, 
lively style. Who that remembers her Four Mowhrays 
will not resuscitate agreeable reminiscences of her ver- 
satility and comic ability ? How arch she was ! how 
ingenious in her transformations ! what taste she dis- 
played in costume, and what a successful buoyancy of 
spirits she possessed, which, infectious in its good 
humor, caused her audiences to yield without resistance 
to the cheerful epidemic ! Her singing was dashing, 
almost impudent in its style, but so bravely executed 
that admiration was the only emotion which it pro- 
duced. Her White Sergeant was a bravura which was 
then sung as it has seldom been sung since. There 
was a glorious military abandon in her voice, a martial 
and bold carriage of her person, which was irresistibly 
delightful. Never was a song better acted than the 
piece in question, and its popularity was therefore un- 
bounded. Even in male characters Clara Fisher was 
excellent. Her Crack, in the ' Turnpike Gate,' was a 
clever and amusing piece of acting, which was oddly 



256 RECORD 01 Tin: BOSTON STAGB. 

illustrated by her gaiety of manner and general skill. 
Beautiful, vivacious, and precociously talented, 
created a furore in this city which has rarely I 
equalled since." 

Mr. Horn and Mrs. Knight gave the citizens the 
lyric drama. " ( ruy Mannering " and " I >er Freischuts " 
were brought out. Mrs. Sloman, mother to dam- Slo- 
man, the harpist, who is now in Charleston, S. C, made 
her first appearance as Isabella, on the 7th of January, 
1828, and -ained great fame as Mrs. Sailer and Bel- 
videra. Cooper, after his unsuccessful trip to London, 
performed in March, and on the 28th acted Othello to 
Forrest's Tago t and after Forrest's departure, played to 

good houses. A protege of Cooper's, Mi8S Hamilton, 

also appeared, and Monsieur Achille, and a troupe 
French dancers, served to iill up the intervals betwi 
the comedy and fai 

With such attractions as these, one would suppose 

that full houses would have been the result, no matter 
what the attractions were elsewhere ; but such was not 
invariably the c'ase. Messrs. Finn and Kilner confined 
themselves exclusively to the stage management, a com- 
mittee of the proprietors superintending the financial 
affairs, and the season closed in June. 

The Tremont Theatre, though not finished, was an- 
nounced to open on the 24th of September, 1827. The 
roof was on, but the granite facade was not completed. 
Great impatience was manifested among the play-going 
public to see the interior, and those privileged persons, 
" the members of the press," gave almost daily bulletins 
of the progress made. The Saturday previous to Mon- 
day, the opening night, the tickets were offered for sale, 



RECORD OF THE BOSTON STAGE. 257 

and such was the rush, that in less than twenty minutes 
every seat in the pit and first and second row of boxes 
was disposed of. The bill of entertainment was as 
follows : — 

TKEMOXT THEATKE. 

The Public is respectfully informed, that the Tremont Theatre 

will open 

ON MONDAY EVENING, SEPTEMBEK 24. 

IJ^ The Orchestra ^-ill embrace the most distinguished musical 

:u. the eountrv — Leader. . . . Mk. Ostixellt. 



There will be presented Mrs. Inchbald's Comedy, called 

Wives as they Were, and Maids as they Are. 

Lord Priory, Mr. Herbert, 

.phia theatres, — first appearance in 
B;~:on). 
"illifan Dorillon, .... Mr. Webb, 
(of the Philadelphia Theatre. — first appearance in Boston). 
^ E* "u. .... Mr. Eeed. 

.::...:;- Mr. Blake. 

(First appearance for two seasons). 

Mr. Xorberry, Mr. Forbes. 

Oliver Mr. J. Mills Brown. 

Miss Dorillon. Mrs. Blake. 

(of the New York The* 

He Mrs. Young. 

(of the New York The 
Lady Priory. Mrs. Pelby. 



Previous to the Comedy, the Prize Address will be delivered by 
Mr.. Blake. 



The F^tertainment to conclude with the Farce of the 
Lady and the Devil 

Wildlove, Mr. Eeed. 

Mr. J. Mills Brown, 

Mr. Hart. 

17 



258 IIKCORD OF THE BOSTON - T \ 

HlandiM Mr. Field, 

Landlord, Mr. Martin, 

Zephyrina, Mre. Young, 

nibo, Mrs. Brewster. 

In addition to the above, Messrs. Byatt, W. [sherwood, Brei 
Kelly, Collingbourne, and Smith, and lira, and Miss Riddle, 
Smith, and Mr.-. Forbes, and Mr. Keene, the Vocalist, are engaged 
fur tlio season. Many ladies and gentlemen of distinguished talents, 

axe engaged for limited period-. 

D^- Boxes, $1; Third Tit re GaDery, 

for people of color, 
Days of Performance, Monday, Tuesday, v. Thursday, 

and Friday. 

CGP* Door- open at half-past 5 ; Performance to commence at 
half-past 6. 

The prize address delivered on this occasion has been 
the subject of considerable remark, both at that time 
and since. When Mr. Pelby's intention of offering a 
prize was first announced, many who had before com- 
peted with Mr. Sprague, for other prizes, announced 
their intention of withdrawing from any farther contest, 
alleging, with great injustice, that it was the name, and 
not the poem, which had gained him his last honor; an 
assertion which subsequently proved to be false, for the 
next three prizes gained by Mr. Sprague — one in 
Philadelphia, one in Salem, and one in Portsmouth — 
were anonymously obtained, and only acknowledged by 
the author in later years. But shortly the names of 
the gentlemen composing the committee on the prize 
was announced, and Mr. Sprague was one, assisted by 
Franklin Dexter, Nathan Hale, Ebenezer Bailey, and 
John Ware, Esqrs. Mr. Sprague, by accepting a 
judgeship, signified his intention of allowing a clear 
field to others. A number of pieces were handed in, 



RECORD OF THE BOSTON STAGE. 259 

but none of them evincing any decided superiority as 
poetical compositions, and after repeated consultations 
the committee came to the conclusion that they would 
report to Mr. Pelby, that not one of the poems was 
worthy of the prize. Upon farther consideration, how- 
ever, this report did not appear to be in accordance 
with the offer made, which was for the best poem ; and 
however inferior it might be, still they were to single 
out one as better than the others. Accordingly they 
designated the poem by " Theron " as the least excep- 
tionable, and the sealed paper accompanying the poem 
contained the name of " J. Jamieson, Hartford, Ct." 

" Who is J. Jamieson ? " was the question asked. 
Hartford was searched through and through ; the post- 
master, the ministers, and even the sexton, were con- 
sulted as to the individual, but no " J. Jamieson " was 
there to be found. The disappointed applicants for the 
prize then called upon the committee, through the pub- 
lic prints, to produce the man, and with a malevolence 
sometimes characteristic of disappointed second-rate 
geninuses, charged the committee with corruption, and 
accused several members with having awarded the 
prize to one of their own number. Mr. Sprague was 
singled out and pursued with great bitterness ; and we 
cannot but think this unkind treatment may have been 
the cause of the allusion in Curiosity to "tenth-rate 
type-men." 

" That reptile race, with all that 's good at strife, 
Who trail their slime through every, walk of life ; 
Stain the white tablet where a great man's name 
Stands proudly chisel? d by the hand of Fame; 
Nor round the sacred fire-side fear to crawl, • 
But drop their venom there, and poison all." 



260 BBOOSD OF Tin. BOSTON BTA< 

Some at that time 1 the Btyle of this poet, 

who they* pretended was ashamed to acknowledge the 
authorship. Others thought that it mighl have ema- 
nated from the study of a clergyman ; hut this 
pronounced impossible, a- no man in holy office would 

.-auction the expression, which occurred in the poem: — 

•• Let pulpits fulminate, let presses groan, 
Their woea and warnings — and what need they more 
To cause the curse tiny piously deplore! " 

The topic as to the identity of the author was long 
kept up, and at this day it is a matter of very little 
consequence who he is or may have been. The prize- 
money was paid to Mr. Buckingham, editor of the 
Galaxy, who has stated that lie v. John Pierpont was 
the gentleman who bespoke hie agency in regard to the 
prologue, and that the prize-money was paid to him. 
Mr. Buckingham could not state that Mr. Pierpont was 
the author, and that gentleman " never either admitted 
or denied the accusation." At that time "J. Jamieson, 
of Hartford, Ct.," was the great Unknown. 

The orchestra at the Tremont was very good. Mr. 
and Mrs. Barnes, after playing at the Boston, appeared 
at the Tremont, and Mr. and Mrs. Blake, owing to 
some trouble at the Tremont, went to the old house. 
The leading stars the first season were Mr. Holland, an 
excellent comic actor, Mr.* and Mrs. Hilson, (formerly 
Miss Johnson,) Mr. Adams, the tragedian, Mr. Horn 

* At Louisville, Ky., of apoplexy, on the 23d of July, 1834, Mr. 
Thomas Hilson, long known in various parts of the United States as 
one of the best comedians of the day. He was apparently in perfect 
health till within fifteen minutes of his death. 



RECORD OF THE BOSTON STAGE. 261 

and Mrs. Knight, Miss Rock, after her appearance at 
the old house, Mr. Cooper, after his appearance at the 
Federal Street, Miss Kelly, Mr. and Mrs. Wallack, etc. 
Ms s. Mestayer made her first appearance January 7, 
1828, as Mrs. Baalamb in " Gambler's Fate." Mr. 
Pelby also engaged the French dancers, Mons. Bar- 
berre, Madame Hutin, and Md'lle. Celeste, at $300 per 
night, which brought the expenses up to $600 per night, 
and the scenic play of " Undine " was got up at a great 
expense, but proved a failure. A play called " Char- 
lotte Temple," written by George Ward Glascott, was 
also produced, and " Timour the Tartar," with horse 
accompaniment, produced Jan. 21, '28. Up to the ex- 
piration of the 15th or 20th week, the season had 
proved profitable ; and though the expenses were large, 
they had been promptly met. The season, however, 
closed on the 20th of May, leaving the manager deeply 
involved, and the proprietors without a dividend. The 
competition between the two houses had been carried 
on with unprecedented warmth. Pelby was accused 
of seducing stars from the Federal Street to the Tre- 
mont, and Finn was charged with equally grave mis- 
demeanors. In the case of Miss George, she was an- 
nounced to appear at both houses the same evening, and 
the charges of bribery and corruption were set afloat, 
and statements and counter-statements appeared in the 
papers. The old house, however, carried the day as 
regards the excellence of the stock company and stars, 
and the Tremont had superior advantages so far as a 
new house and a better location was concerned ; but 
neither came out of this first struggle with any decided 
advantage to themselves. 



262 RECORD OF THE BOSTON STAGE. 



CHAPTER XVIII. 

Change of Management at the Trcmont Theatre. — J. B. Booth as 
Acting-Manager. — The Company and Salaries. — Dchut of .John 
Gibhs Gilbert. — Forrest's First Appearance at the Tremont. — Dcr 
Freischutz. — Hyatt. — Madam Feron. — Tom Comer's First 
Benefit. — YV. EL Smith's Pint Benefit. — Faults of the Theatre.— 
The Opera at the Old Theatre. — Commencement of the Regular 
Season. — Caldwell. — Finn's Unique Cards. — Debut of Mrs. 
Cramer, etc., etc. 

Mr. Pelby became so embarrassed, that the directors 
of the corporation deemed it advisable to make some 
change. Mr. Pelby had also gained the enmity of the 
press, and members of his own company were not 
inclined to continue under his management. The idea, 
too, had exploded, that Boston had grown large enough 
to suport two first-class theatres. Mr. Pelby had hired 
the theatre for a term of ten years, agreeing to pay a rent 
of eight per cent, upon its cost, and, at the end of the 
third quarter of the first year, he was induced — as he 
thought, by unfair means — to sell out to an association 
of gentlemen, comprising F. W. Dana, Mitchell, John 
Rayner, B. C. Clark, H. H. Huggeford, Thomas Niles, 
John Fuller, Esq., and others. Mr. Francis W. Dana 
was at the head of this project, and the agreement on 
the part of the corporation was, that they might sur- 
render the house at the end of the first year. They 
paid for the year the full rent of $9,000, and prepared 
to give the old house another trial. The company was 
strengthened, and J. B. Booth was engaged as acting- 
manager for the first two months, at a salary of $100 



RECORD OF THE BOSTON STAGE. 263 

per week, and $100 a night for ten performances. The 
bill for the opening night, was as follows : — 

TBEMONT THEATRE. 

H^ Mr. Booth has the honor to acquaint the public, that the 
gentlemen composing the Committee of Arrangements for this 
theatre, have selected him to manage and direct the business of 
the stage. Mr. Booth is aware of the important and laborious 
task he has undertaken, but hopes that the desire felt by him and 
his constituents to reclaim the drama from approaching degene- 
racy, and a steady perseverence to deserve success by making the 
theatre a place of rational and improving amusement, will insure 
and receive the approbation of all. 

On Monday Evening, September 1, 1828, 
Will be performed, the Comedy of 
SPEED THE PLOUGH. 
Sir Philip Blandford, .... Mr. Webb. 

Worrington, Mr. Collingbourne, 

From the Bowery Theatre, New York. 

Sir Abel Handy, Mr. Jones, 

From the Park Theatre, New York. 

Bob Handy, Mr. Thayer, 

From the Lafayette Theatre, New York. 

Henry, Mr. Field. 

Farmer Ashfield, . . . . . Mr. Hallam, 

From the Philadelphia theatres. 
Gerald, . . ... . . . Mr. Jervis, 

From the Park Theatre, New York. 

Evergreen, Mr. Law's. 

Postilion, Mr. Blaike. 

Peter, * Mr. Scott. 

Valet, Mr. J. S. Jones. 

Miss Blandford, Miss Hamilton, 

Her first appearance at this theatre. 

Lady Handy, Mrs. Lacombe, 

From the New York theatres. 

Susan Ashfield, Mrs. Roper, 

From the Philadelphia theatres. 
Dame Ashfield, .... Mrs. Jones, 

From the Bowery Theatre, New York. 



264 RECORD OF TOE BOSTON STAGE. 

Previous to the Comedy, 

AN ADDRESS, 

Written by a Lady of this city, expressly lor the occasion, will be 

spoken hy Mr. Archer. 

A New Act Drop, presenting a View of tin- Academic Grove, painted 
by Mr. Coyle, will be exhibited. 

The evening's entertainment to conclude with 
THE BEVTEW. 

Looney McTwolter, Mr. Comer, 

From the Theatre Royal, Covent Garden. 

John Lump, Mr. Simpson, 

From the Chatham Theatre, New York. 
Grace Gaylove, Mrs. Roper. 

K7=- The Box Office will be opened from 10 till 2 o'clock, (Satur- 
days from 10 to 12). 

Boxes, 51; Third Tier of Boxes, 75 cents; Pit, 50 cents; Gallery, 
26 cts. 

The doors will be open at 6 o'clock. Performance to commence 
at 7 o'clock. 

The address was the production of Mrs. Catherine 
A. Ware, a poetess of no ordinary ability. 

Mr. Booth was assisted by Alexander Wilson, at a 
salary of $50 per week, as a kind of out-door mana- 
ger, — Mr. Dana superintending the whole. The com- 
pany was increased, and the following are the names 
of the leading actors who appeared during the season, 
with a few of the sums paid per week for their ser- 
vices : — 

Thomas Comer, Musical Director, $40. Luigi 
Ostinelli, Leader of the Orchestra, $40. Mrs. Duff, 
$50. Mrs. Pelby and daughter, Mrs. George Barrett, 
Mrs. Papanti, Miss Riddle, Mrs. William Jones and 
husband, at an average of S50. Thomas Archer, $40. 
W. H. Smith, S30. Thayer, $28. Hyatt, $50. Lopez, 



RECORD OP THE BOSTON STAGE. 265 

as Prompter, (editor of "Wejmiss' and Lopez's Edition 
of Plays). Young Silas Field, Walker, C. Lehr, and 
R. Jones were in the paint-room, with Sam. Stockwell, 
as assistant. The Orchestra numbered twenty-eight 
musicians, averaging from $11 to $14 per week; and 
there was also a strong corps of chorus-singers, William 
B. Oliver, Leader. J. F. Barker, John Candy, David 
Whiting, George Birch, Phineas Glover, John Hall, 
Anselm Lothrop, at $10 per week. Under such sys- 
tematic extravagance the season commenced. 

During Booth's management Miss Rock, Miss Pla- 
cide, Hamblin, Miss Louisa Lane, an infant prodigy, 
who afterwards played Uncamunca, to Major Stevens' 
Tom Thumb, in the " Extravaganza." Booth took 
leave, in order to fulfil his engagement at the South, 
in the character Orestes, a part done by him in French, 
when in New Orleans, to the admiration of many, who 
had seen the same impersonation by the great Talma. 
Mrs. Duff appeared with undiminished power this sea- 
son. Joe Cowell succeeded Booth as manager ; the 
latter, on his retirement, receiving from the lessees a 
beautiful cup and plate, valued at $100, as a mark of 
their appreciation of his services while manager. The 
theatre, during Booth's management, had done well. 
The Federal Street, shortly after its opening, reduced 
its prices of admission, which was considered as a 
triumph of the new theatre over the old. After this, a 
rapid succession of stars appeared, two or more often 
at the same time. Wallack, on the 3d of November, 
appeared, and on the 7th, Miss Clara Fisher com- 
menced her first engagement at the Tremont, and a 
great one it was. On the occasion of Wallack's benefit, 



266 



Kl.< <>KI) <»J 1 1 1 1 : 1 rAGE. 



''Much Ado About Nothing" was brought out: — 
Benedict, Wallack; Beatrice, Miss Clara Fisher. 
Cooper followed immediately after, supported by Bin. 
Duff 

On the 28th of November, 1828, John Gibba Gilbert, 
■ resident of North End, made his debut in the charac- 
ter of Jaffier, — Mr. Wilson as Pierre, Mrs. Dull' as 
Belvidera. The attempt was crowned with the greatest 
success. There was the awkward gait of the novice, 
ami some crudities of expression, but his readings were 
correct, evincing a discriminating mind, and an origi- 
nality which pleased the most critical, and gave the 
promise, which has been fully realized, of his becom- 
ing one of the most sterling actors of the day. His 
second appearance was as Sir Edward Mortimer, in 

which he made a hit. 

Forrest's first appearance at the Tremont, was 
made in the character of Hamlet, on the 15th of 
November, 1828: — Ghost, Wilson j Horatio, W, II. 
Smith; Queen, Mrs. Pelby; Ophelia, Mrs. CowelL 
During this engagement, in which Forrest evinced 
marked improvement in style over his earliest efforts in 
Boston, Shiel's play of " Evadne" was brought out — 
Ludovico, Forrest ; Colinna, Wilson ; Vincento, John 
G. Gilbert. 

Thomas Comer, in the month of January, brought 
out "Der Freischutz," in an admirable manner. The 
" Barber of Seville " was also produced under the same 
direction during Mrs. Austin's engagement, the chief 
parts filled by Comer, Horn, Miss George, and Mrs. 
Papanti. 

Hyatt was the life of the company, and adopted 



RECORD OF THE BOSTON STAGE. 267 

many ingenious methods to draw a house, whenever 
his name was up for a benefit. On one occasion, he 
announced that twenty -five lottery tickets — wholes and 
halves — would be distributed from a balloon, in which 
Md'lle Scratchini Pasiamo would ascend. On another 
night, the following announcement was made : — 

£100 NOTE. 
Billy Black, (1st Act,) .... Mr. Hyatt. 

Billy Blade, (2d " ) . . . . " Mr. Cowell. 

Miss Arlington, Miss Eiddle. 

With the Song — " Buy a Broom." 
0^=" A dispute having arisen among the ladies, whether Mr. 
Cowell or Mr. Hyatt is the greater beauty — and, as some have 
declared Mr. Cowell to be the handsomest boy, and others u wice 
versa" — Mr. Hyatt thinks it an incumbent duty to set this im- 
portant dispute at rest; therefore, he will gratify the feelings of the 
ladies, by appearing with Mr. Cowell, (in the course of the farce,) 
and sing the comic duett of the rival beauties. 

The joke of the above consists in the fact that neither 
of the gentlemen had any great claims to be considered 
an Apollo. Hyatt, at times, was a ready wit. In the 
farce of the " Rendezvous," the females were ordered 
to go to bed, by the old man, and they went out at the 
side door. One of them tried to slide back unper- 
ceived, but stumbled over the base of the column, and 
fell down, after which she vanished. " Go along to 
bed all of you," says the old man. " Yes, it's time 
for 'em to go to bed," says Hyatt, " for they're tumbling 
over their pillars already." The joke was cracked so 
instantly, that rounds of applause rewarded the ready 
wit. Hyatt enlisted in the United States Navy as a 
Marine, in 1832. 



2G8 



i:i ( OBD OF THE B< I LOB. 



Madame Celeste also appeared and brought out the 
"Caliph of Bagdad.' 1 

The ballet was followed by the appearance of Madam 
Feron, who appeared 10 the " Barber of Seville," 

k * Beggar's Opera," etc. She was born , of French 
parents in London in 1707, and while yet a child, was 
brought forward at Vauxhall to execute music of a 
description similar to that then singing by (atalini at 
the Operaj and the wags of the day christened her the 
'•little Cat" while her prototype received the elegant 
appellation of the great one. Madame Feron, subse- 
quently visited Italy, where she pursued her stuJies, 
and afterwards achieved victories in all the principal 
European cities. Madame Feron belonged to the genus 
of astonishing vocalists. Her love of ornament was 
strong and sometimes ran away with her, but her cadenza 
were original and effective. As an actress, she was 
fascinating ; and in private life, an elegant woman. 

Miss Rock made a second engagement prior to her 
departure for Europe. Wallack reappeared, and put 
upon the stage " Rienzi." 

The only scenic piece of any note this season was the 
"Enchanted Castle, or Knights of Old," in which Mr. 
W. II. Smith sustained the part of Aldibert, and pro- 
bably first became initiated into the mysteries of that 
department of the profession, which he has so success- 
fully improved upon, as shown in the style and magni- 
ficence of the Museum spectacles. 

On the 6th of April, 1829, Thomas Comer, more 
familiarly known as " Honest Tom Comer," announced 
his first benefit in Boston. Many a time since then 
has that old familiar name been posted as the beneficiary 



RECORD OF THE BOSTON STAGE. 269 

of the evening. That it has not always attracted a 
crowded house, may be possible, but certainly it always 
deserved one, and so far as our own recollection 
extends has received it. Mr. Comer brought out 
Shakspearefs " Tempest," the part of Ariel by Miss 
Rock. 

Mr. W. H. Smith's first benefit was on the loth of 
April, a week following that of Mr. Comer's, both of 
whom, after nearly a quarter of a century, still hold 
prominent positions before the Boston public. Lest 
our readers might infer, by our allusion to fragments of 
centuries, that these gentlemen were very, very old, we 
will state that then they were very, very young ; and 
occular demonstration can be had any evening that the 
hand of time has touched them lightly, and leaves them 
in the enjoyment of every faculty requisite to their 
laborious profession. On the night of Mr. Smith's first 
benefit, the entertainments consisted of "A "Woman 
never Vexed, or The Rich Widow of Cornhill." King 
Henry VI., Mr. Gilbert; Robert Foster, Mr. Field; 
Clown, Hyatt ; Agnes, Mrs. Smith ; and the play of 
the " Wandering Boys." Paul, W. H. Smith. 

Towards the close of the season, " London and Paris" 
was brought out, and Mrs. George Barrett, then in the 
heyday of her beauty, possessing the same versatility of 
powers still evinced by this excellent actress, appeared, 
and Booth and Mrs. Duff performed an engagement ; 
the house closing with M. M. Noah's play of " Marion 
and His Men," etc., on the Fourth of July. 

That the season in point of attraction was brilliant, 
must be admitted ; but the house was too small, or 
rather the dress circle would not contain those who 



270 OED OF Tin-; BOfi \<;e. 

would not take Beats in the second tier; ami as Mr. 

Barry and others afterwards found out, the expenses 
of any great attraction exceeded the receipts when the 
house was crammed, more especially after a redaction 
of prices took place. A< has been Been, Btar succeeded 

star, with a rapidity since unknown, and the Btock was 
kept up in every rank. The result was a loss of about 
tire/ify-scrrn thousand dollars to the committee of gen- 
tlemen. We will now take a look at the progress Made 
at the old house. 

On the 25th of August, Mr. Davis*, the manager of 
the French Theatre, X. O., opened the Boston Theatre, 
for a short season, with his opera company, it being too 
early to risk a southern climate with his recent trans- 
atlantic importation. "La Dame Blanche," and a 
vaudeville entitled " "Werther," -were brought out. 

The regular season, and the last at this house for 
many years, commenced on the 22d of September, with 
the " Heir at Law." Dr. Panyloss, Finn ; Steadfast, 
Young; Homespun, Andrews ; Dorothy Don glass, Mrs. 
Barnes ; Caroline Dormer, Mrs. Finn ; Cicily Home- 
spun, Mrs. Young ; and Lord Duhberly, Mr. Faulkner, 
his first appearance in Boston. The leading attraction 
was the Grand Corps of Parisian Dancers, who drew 
well. The only star of any note was Mr. Caldwell, 
manager of the New Orleans Theatre, who afforded a 
rich treat to those who fancied chaste acting. He 
afterwards appeared at the Tremont, the same season. 
Mr. A. Adams, the tragedian, appeared as William Tell, 
and in other parts, and the " Forty Thieves " was 
revived. 

The attractions at the new house were so strong that 



RECORD OF THE BOSTON STAGE. 271 

the Federal Street Theatre was almost deserted, not- 
withstanding the free tickets so lavishly circulated by 
the latter. The press also was loud in its complaints 
of the way things were conducted at the old house, and 
the stockholders were somewhat fatigued with carrying 
on the warfare. Mr. Finn took two benefits this season. 
On the 13th of December, '28, " One Hundred and 
Two, or The Veteran and his Prodigy," and " Thirty 
Years of the Life of a Gambler," were brought out, 
and a good house was attracted, mainly through the 
unique invitations published by Finn in the papers. 
Here is one : — 

MORE DISCLOSURES. 

FINN'S LETTERS TO THE PUBLIC. 

Dear Public, pray permit H J 
Finn, to address a D T 
To U,. and make a slight S A, 
To influence the C T. 

And N E faults you must X Qs, 
Nor B my NME; 
If not instruct, I will M Us, 
With all my N R G. 

The grateful warmth which I U, 
X-ceeds T P D T ; 
I cannot, tho' I have my Q, 
X-press my X T C. 

From X's town to U T K, 
From Mystic to P D, 
There 's not a biped popin-J 
That I would now N V. 

On Monday night, my Public D E, 
We shall X L, U C; 
To every call, I will give E R, 
And answer, " Here IB." 



272 RECORD OF THE BOSTON STAGE. 

Need I say V, 'twould give m 
A full house should I C; 
But ()! for V T, do not Ts, 
And make that house U T. 

In the month of April, Mr. Finn, on the occasion of 
his second benefit, when " Peter linn, or A Trip to see 
the Sea," and "Massachusetts Railroads," two j)i. 
from the pen of the beneficiary, were produced, again 
addressed the public as follows : — 

TOUTS BENEFIT AND ins PACK <>r CABDS. 

'• Keep a commanding carl to bring in your strong suit when the fen 
are out." — Hoyle. 

Since Benefit cards arc becoming the fashion, 
And they now run in couples, like hounds on the track, — 

In pursuit of a similar gam&, I shall dash on, 
Hoping all , !! encourage my i\\« k. 

That life is a game, needs not much illustration : 

Many play for a robe — many more for a 
To play a good game 's the most safe speculation ; 

He who is the best man has the most reason to brag. 

Old Industry's spade has turn'dnp for our yeomen, 
And turned out from our land some of Valor's best shrubs; 

Our mechanics, too, yield in their courage to no men, 
Who, our foes have found out, have a strong hand with clubs. 

Little Cupid's a knave, who plays tricks with his darts — 
And the eyes of those ladies, who 've no wish to shun love, 

Are the diamonds which win to the altar all hearts ; 
And the odds are, we finish the game with but "one-fore." 

Tho' I often make game by a card with a. face, 

Yet judiciously cutting — a joke is of use. 
As you deal with &pun-ter if you bate an ace 

Of your favor, with me you '11 be playing the deuce. 



RECORD OF THE BOSTON STAGE. 273 

Not in kings or in queens, but republican men, 
That they '11 all come in numbers, my chief confidence is, 

Three, four, five, and six, seven, eight, nine, or ten, 
And I '11 take to myself all the worst con-seqtiences. 

You shall have — and my promise I will not revoke, 
On that night — as good playing as Boston affords; 

For my partners will not need much forcing to joke, — 
But, at all events, here you've a play, upon wwds. 

My suit is to win from my friends all the honors 
A player expects from their hands when addressing 

Those regular trumps, who have been my best donors, 
Who will pardon my many attempts at Flnness-w^. 

Miss Cramer made her debut at the theatre this 
season in the part of Letitia Hardy, (May 22, '29,) and 
on the occasion of Mr. Walton's benefit, his wife ap- 
peared, for the first time on any stage, in a dramatic 
version of Scott's Antiquary. 

The after season' of the Federal Street Theatre, 
though the rent was relinquished by the proprietors to 
Mr. Young, the acting manager, proved a losing con- 
cern ; and, not having paid the performers, except a 
very few, they deserted the sinking ship, one by one, 
till at last they were able to make up a very scanty 
bill. The theatre closed on the night of Artillery 
Election, when Burk's play of "Bunker Hill" was 
performed. 

18 



274 RECORD OF THE BOSTON STACK. 



CHAPTER XIX. 

Contest between the Tw<> Thoafcw.— Tfci Old Boom QtaMd.-*>Tbc 

Opera. —The Company. — Booth's Appearance. — EB 
Conduct, and Walk to Providence.—" Metamora," — Tin Produc- 
tion of English Drama*.— -Bichard BusseiL— Charlei K.-an.— 
Matter Burke. — Amphitheatre in Elagg Alley. — Ball of the Ca- 
dets at the Old Theatre. — Another of Finn'l Card 

Tin: contest between the two theatres had been 
carried on two years with unabated vigor, and, as we 

have stated, with a great loss to the Tremont. Mr. 
Dana and his friends concluded to give up the manage- 
ment, but it was agreed by the stockholders that they 
might hold it for another year,, paying only the current 
expenses of the corporation with the interest on their 
mortgage debt. The rent on this second year amounted 
ed to only about $1,500, making an average for two 
years of something over $5,000 per annum. Negotia- 
tions were then entered into by the proprietors of the 
two houses, which resulted in the management of the 
Tremont leasing the old theatre, which they kept closed 
when the former was open, at a considerable expense. 

After the regular season at the old house had closed, 
it was opened one night in August, for the benefit of 
George Andrews, when he was assisted by several of 
the leading actors from the new house. 

On the 2d of September, the Italian Opera Com- 
pany commenced a short season at the old house, and 
brought out " Tancredi," " Barber of Seville," etc. 



RECORD OF THE BOSTON STAGE. 275 

This company was composed of Madame Feron, (who 
died in the month of May, 1853, in London,) Madame 
Brochta, Signor Rosich, Signor Angrisani, etc. Osti- 
nelli led the orchestra, and Comer was musical director. 
This was the first regular attempt to present the lyric 
drama, with all the proper accompaniments, which 
proved successful. The same company, with the ex- 
ception of Ostinelli, had been performing selections 
from different Italian operas at the Park Theatre, N. 
Y., with great success, which induced them to pay Bos- 
ton a visit. Mr. Comer had left them and gone to 
Newport, when, to his surprise, Mr. J. Phalen, on the 
part of F. TV. Dana, Esq., the manager, called on him 
and stated that the troupe would visit Boston, and that 
his services were required as musical director in the 
orchestra. He at once hastened to Boston, engaged 
his voices, and announced a rehearsal for the next day. 
The weather was intensely warm, and before proceed- 
ing to business, it was voted that shirt-sleeves were 
en regie, Mr. Comer commenced the drilling by giv- 
ing the words of an opening chorus, " Pare onare, etc." 
Mr. W. B. Oliver, Captain Sam. Adams, and others, 
were quick at learning the music, but when it came to 
giving the words, the perspiration started from every 
pore. The book of " Italian in six easy lessons " had 
not then been compiled ; but Mr. Comer found them 
apt scholars, and they found him an efficient teacher, 
and by hard work and perseverance the choristers were 
Italianized, and executed their part so well as that they 
received the compliments of Madame Feron, and troupe. 
The most fashionable houses were in attendance, and 
the boxes presented a magnificent array of Boston 



27C RECORD OF THE BOSTON STAGE, 

belles, many of whom are the stately matrons of the 
present Jay. 

The union of the rival theatres, and the concentra- 
tion upon one establishment of the interest hitherto 
divide (1 between two, promised a* most successful sea- 
son for the Tremont. The interior of that house fll 
greatly improved, and the company increased. ^Ir. 
Jones, of the New York theatres, had the direction of 
the scenic department. Mr. Comer had the manage- 
ment of the vocal department. Mr. Ostinelli con- 
ducted the orchestra, composed of Messrs. Granger, 
Peele, Eberle, Kendall, Ilanna, Pierce, Warren, 
Schott, Geer, and others. Mr. Finn and Mr. Andrews, 
from the Federal Street, and Mr. Jones, from the 
English Opera House, with Mr. G. Jones, were en- 
gaged, and among the company of the previous season 
retained, were Messrs. Wilson, Smith, Thayer, Hyatt, 
Comer, Jones, Collingbourne, Scott, Blaike, J. S. Jones, 
Leman, Clements, Whiting, etc., etc. ; Mrs. W. II. 
Smith, Mrs. Papanti, Mrs. Jones, Mrs. Campbell, 
Misses Eberle, McBride, etc. Mr. Wilson was the 
ostensible manager, and Mr. W. H. Smith, stage mana- 
ger. The season commenced on the 14th of Septem- 
ber with " Speed the Plough," the Romaiker, by 
Mad'lles Celeste and Constance, and "Touch and 
Take." 

On the lGth of November Booth was engaged, and 
made his appearance. He performed for one or two 
nights with fine effect, when he was taken ill and 
obliged to keep his room. He recruited, however, and 
re-appeared as Richard, and on Monday, December 7, 
was announced to perform Ludovico in "Evadne," 



RECORD OF THE BOSTON STAGE. 277 

supported by Mr. Pelby as Colonna, and Mrs. Duff as 
Evadne. The after-piece, of " Amateurs and Actors," 
was to give occasion for Mr. Booth to play in a comic 
character. The house was crowded ; not a nook or 
corner of the dress circle was unoccupied, and great 
numbers were refused admittance. 

Mr. Booth's first entrance on the stage denoted 
something unusual. He was careless and hesitating in 
his delivery, and his countenance had none of its 
customary expression. He would falter in his dis- 
course, jumble scraps of other plays into his dialogue, 
run to the prompter's side of the stage and lean against 
a side scene, while the prompter endeavored to help 
him forward in the play, by speaking out his part of 
the dialogue loud enough to be heard in the galleries. 
In this manner, he made a shift to get through the first 
two acts of the tragedy. Those familiar with the thea- 
tre saw very plainly that something was rotten in the 
State of Denmark ; but a great proportion of the very 
crowded audience present, not knowing much of his 
manner of acting, did not comprehend the business, but 
only looked on, stared, gaped, and wondered, and 
protested that for an actor of so much celebrity, Mr. 
Booth played in a very spiritless and bungling fashion. 

This bizarrerie soon came to a close. In the early 
part of the third act, while engaged in parlance with 
the king of Naples, the audience were surprised by his 
suddenly breaking off from the measured, heroical 
dignity of his stage tone, and with a comical simper, 
falling at once into a colloquial gossiping sort of chatter 
with his majesty, thus — " Upon my ivord, sir, I don't 
know sir" etc. The audience were thrown into as 



278 BACOKD OF mi. BOSTON BTJLQF- 

niucli astonishment as the king of the two Sicilies at 
Signor Ludovico's .sudden und anti-poetical downcome 
from his buskined height of declamation. For a 
moment all was silence; \ hen Mr. Booth, turning 
round and facing the spectators, began to address them 
in this manner: — "Ladies end ymUkmen ; I really 
(but 7 know this part, I stud led it <,,thj once before, much 
ayainst my inclination. J will read the port, and the 
play shall (jo (iii. By your leave the play shall a* on, 
and Mr. Wilson shall read the pari for me" Hon an 
overpowering burst of hissing and exrlanialions arose 
from all paarti of the house, -while Mr. Booth continued 
to face the audience with a grinning look, which at 
length broke out into an open laugh. Mr. Smith then 
rushed from behind the scenes upon the stage, and led 
him oif, Mr. Booth exclaiming, u I can't read, — / am 
a charity boy ; — leant read. Talc me to the Lunatic 
Hospital!" Here the drop curtain fell amid the 
murmurs and hisses of the house. 

Presently appeared Mr. Smith from the stage door, 
and spoke in the following tenor: " Ladies and gentle- 
men, — it is obvious to you all, that Mr. Booth cannot 
appear again this evening, and that the play, therefore, 
cannot proceed. It is also well known that Mr. Booth 
has, for some time, been subject to partial insanity. It 
appears evident that he is not now what he has been. 
His reason has left him. With your indulgence we 
shall immediately proceed to consider what is to be 
done in this emergency." This temporary explanation" 
appeared to satisfy the house, and Mr. Smith retired 
without any signs of disapprobation being manifested. 
After some minutes, he came forward again. " Ladies 



RECORD OF THE BOSTON STAGE. 279 

and gentlemen, — it is hoped that you will consider the 
circumstances which have caused the unlooked-for dis- 
appointment of this evening. Mr. Booth had been ill 
on Sat rday, but was to all appearance quite recovered. 
He would not have been announced to play this even- 
ing, had we not been assured by his physician that he 
had recovered his powers and was fully competent to 
fulfil his duties in the performance. As the pieces 
announced in the bills cannot be performed, it has been 
determined to make this substitution — the Interlude 
of " Is he Jealous ? " will first be presented, after 
which, the comedy of " The Poor Gentleman." 

Mr. Smith was retiring after this speech, when a 
loud hissing was set up, and voices began to call out, 
" Booth, Booth. < The Bride of Abydos,' < The Mas- 
ter's Rival" ' etc. Upon this, he appealed again to the 
politeness and good nature of the house to overlook 
their disappointment, lamenting that circumstances had 
obliged the managers to ask often for their forbearance. 
Some little disposition was shown to be riotous in the 
galleries, but the boxes were perfectly quiet, and there 
was but little commotion in the pit. The curtain rose, 
and there entered upon the stage Messrs. I. Jones, 
Comer, Scott, and Candy. They sung in a very 
spirited manner the glee of " Old King Cole," which 
had the effect of putting the refractory spirits into 
something like good humor. The singers were listened 
to in' quiet, and encored. 

There were, then, repeated calls made for Mr. Finn, 
when Mr. Smith came forward a third time. He 
stated that Mr. Finn would appear in five minutes, and 
went on to make some explanations of what he had 



280 BECOBD OF THE BOSTON stack. 

said in a previous address on the subject of the can-.' 
of Mr. Booth's catastrophe. Having been informed 
that it was understood he had ascribed the cause of 
Booth's indisposition to liquor, he now declared that no 

such insinuation was intended, and that, on the contrary, 
Mr. Booth's attendants, who had been with him through 
the day, averred that he had drank nothing of the 

spirituous kind in that time." 

Mr. Booth was immediately carried to his lodgings, 
and Ins disorder having increased, it was on Wednesday 

deemed advisahle to obtain a consultation as to the 
propriety of placing him in the Lunatic Asylum, hut 
on repairing to his room, the patient was n<>n est. 
Search was made for him. and the only information 
that could be obtained was his applieation for a seat in 
the Providence stage, at the Marlboro' Hotel; but the. 
stage having previously departed, he went off, and 
whither no one knew ; and it was not till the arrival 
of a stage from Providence, that intelligence was con- 
veyed by the driver, that on Wednesday he met Mr. 
Booth between Dedham and Walpole on foot, bearing 
towards Providence, without his outside garments, and 
without any extra clothing whatever. He reached 
Providence on Thursday, and, it was supposed, slept 
in the woods on Wednesday night. Kind friends at 
once took him in charge, and after a temporary retire- 
ment, he again appeared in this city. 

Mrs. Austin appeared this season, and Forrest and 
Booth performed in " Venice Preserved," " Othello," 
etc. On the loth of February, 1830, Mr. Forrest pro- 
duced his prize tragedy of " Metamora," written by Dr. 
J. A. Stone, for the first time, supported by Scott, Jones. 



RECORD OF THE BOSTON STAGE. 281 

Wilson, Mrs. Duff, and Mrs. Barrett ; the original 
prologue was delivered by Mr. Thayer, the original 
epilogue by Mrs. Barrett. It proved in the highest 
degree attractive to the public, and crowds rushed to 
see this energetic impersonation of Mr. Forrest's. The 
mention of this piece reminds us of an anecdote of 
recent date. Mr. Forrest had performed the piece at 
the National Theatre, in this city, for five successive 
nights, to crowded houses. A gentleman remarked to 
Mr. Forrest, that he should feel flattered at this mark 
of approbation. " Mr. Stone, if he were alive," replied 
Mr. Forrest, " would undoubtedly feel proud." " But,"' 
continued the gentleman, " if other than a Forrest 
played it, the author might not have cause for self-con- 
gratulation." The tragedian was inclined to give all 
the credit to the author ; but his friend placed it where 
it belonged, and rightly attributed the success of a very 
peculiar play to the eminent talent of the actor. 

An original comedy, called " School for Courtship," 
was produced in February, in which Mr. Jones, the 
excellent scenic artist, produced a view of the Tremont 
House and Theatre, with Park Street Church in the 
distance, which was very fine. " Massaniello," which 
had been in rehearsal during the season, was brought 
out on the 5th of April with fine effect, and had a good 
run. Hacket also appeared. 

This season was celebrated for the admirable manner 
in which the sterling old English comedies were acted 
by Finn, W. H. Smith, Kilner, (who joined the com- 
pany with George Barrett, in January, and in. passion- 
ate and hearty old men never has been equalled this 
side of the water). Andrews, Comer, Thayer, Hyatt, 



282 KIX'ORD OF HI BOSTON STAGE. 

Mrs. Dull" Mrs. Barrett, Mrs. Pelby, Mrs. Papanti, 
Mrs. Barnes, etc., Mr. Placide, also appeared this 
season. The expenses were kept within bounds, and 
the result was a elear profit of 18 or $20,000. The 
theatre closed on the 4th of July, and on the 7th Din- 
neford leased the Federal Street, and opened it as a 
summer house. J. M. Scott, Stone, Thayer, Mi>s 
McBride, Mrs. La Forest, were members of the com- 
pany. El Ilyder aud other show pieces were brought 
out. 

The season of 1830-1 commenced on the Gth of Sep- 
tember. Richard Russell, formerly with Caldwell in 
New Orleans, was the manager ; George II. Barrett, 
stage-manager ; Mr. R. Jones, artist ; Mr. J. Johnson, 
machinist. The company consisted of Messrs. Barrett, 
Finn, Andrews, Smith, Stone, Jones, Ilolden, Pearson, 
Johnson, Howard, Collingbourne, Scott, Adams, Le- 
man, Stone, Russell, Master Russell, etc., etc., Mrs. 
Barrett, Mrs. Stone, Miss Eberle, Miss McBride, Mrs. 
Russell, Mrs. Smith, Mrs. Barnes, Mrs. Campbell, Miss 
Ilolden, and Miss Russell. 

The opening performances were the " Soldier's 
Daughter," which introduced Mrs. Russell to a Boston 
audience as Widow Cheerly, Mr. Barrett reciting an 
opening address written by J. A Stone, Esq., of the 
theatre ; and " Luke the Laborer " was performed. 

Mr. Russell's intentions were good, and he intended 
to give the public attractive performances, but he did 
not meet with the support at first which he merited. 
To his credit be it recorded, he did accomplish a great 
deal towards the suppression of vice in and about the 
theatre. As an actor, he possessed considerable original 



RECORD OF THE BOSTON STAGE. 283 

and intrinsic merit, and his Cosey and Sir Peter were 
pronounced the best since Bernard. 

The stars this season were Mrs. Sharpe, Miss George, 
Mad'lles Ravenot and Durissel, after an absence of two 
years : 

" mincing Eavenot sports tight pantalettes, 

And tarns fop's head "while turning pirouettes." 

Hacket, who brought out " Rip Van Winkle," Forrest, 
Clara Fisher, Charles Kean, Madame Feron, Miss 
Kelly, Master Burke, Booth, Cooper, and Barton. 

On the 17th. of September, '30, was commemorated 
the great event of the first foundation of Boston, com- 
menced by Gov. Winthrop two hundred years ago. It 
was a great holiday, in which all took part, the highest 
and the lowest. Speeches, songs, and feasts, were the 
order of the day. Dinners were given by different 
societies at the hotels. At the theatre, a prize address, 
written for the second centennial settlement of Boston, 
by Mrs. Sarah Josepha Hale, was spoken by Mrs. 
Russell, the manager's lady. 

Charles Kean appeared for the first time as Gloster, 
in " Richard III.," on the 2 2d of November. He was 
at that time only twenty years of age. When he made 
his entrance on the stage, he was received with shouts 
of welcome ; and, as if the people present were deter- 
mined not to visit the sins of the father upon the child, 
they continued their applauses into three or four addi- 
tional rounds, when the first had subsided. He appear- 
ed during this engagement as Sir Giles Overreach, 
Hamlet, Shyloch, Sir Edward Mortimer, and Reuben 
Glenroy. 



284 RECORD 01 THE BOSTON STAGE. 

The celebrated Master Burke, announced ai the 

"Irish Roscius," opened on Monday, January 31. MM 
Young Narpal, leading the orchestra between the pi 
Hi- engagement extended into March, and he appeared 
in the following characters : Dr. Pangloss, (to Mrs. YV. 
II. Smith's Cicely Homespun}) Whirligig Hull, Shylock, 
March of Intellect, Sir Abel Hardy, Richard ///., Terry 
CHourke, Dennit Bulgruddy, Hamlet, (to Mrs. Bar- 
rett's Ophelia}) Dr. OH<>j>n<L and Romeo, — a variety 
which indicates the versatility of his talents. Bis 
reception was immense* No other word can convey, to 
those who do not recollect the cordiality with which he 
was welcomed, any thing like an adequate idea. Balls 
and parties, Bleigh rides and Bocial gatherings, were 
dispensed with, the theatre was the centre of the 
fashionable and literary world of Boston, and the h 
were filled to their utmost capacity. A portion of the 
box tickets were -old at auction }>y Messrs. Coolidge & 
Haskell, and the second row was equally sought after 
with the first The sum of $lol-i was paid in premiums 
for the boxes for seven nights ; and the amount of tin- 
advanced rates for nineteen nights was $2174.50, ex- 
clusive of the whole receipts, which did not fall far 
short of $20,000.. 

After Burke's engagement, the theatre was closed for 
nearly a month, Russell and a portion of the company 
visiting Salem and Providence with the great prodigy. 

During the temporary close of the theatre, an amphi- 
theatre in Flagg Alley, now Change Avenue, was 
opened for dramatic and equestrian performances, and 
was well patronized. It was in the rear of the Bite 
Tavern. Messrs. Vialle, Pallis, Williams, Miss Clarke, 



RECORD OF THE BOSTON STAGE. 285 

Burns, Sands, Conway, appeared either in the ring, or 
on the stage. " Richard III." was got up, and Mr. 
and Mrs. Booth, the former only thirty-six inches in 
height and thirty-nine years of age, the latter thirty-two 
inches and twenty-five years of age, were trotted out to 
be admired by those who had run after prodigies ; and 
as a more striking offset to Burke, " Master Baker " 
was produced, who did some parts with considerable 
cleverness. 

It was this year that a grand birth-night ball, on the 
anniversary of Washington's birth day, was given at 
the old theatre by the Independent Corps of Cadets, 
Col. Baker, and it was considered (the De Joinville 
Ball and others not having come off) the most magni- 
ficent affair ever given in Boston. An entirely new 
flooring was laid over the stage and pit, and by parti- 
tioning off a portion, a salon de danse was formed one 
hundred feet in length, square at one extremity and 
semicircular at the other. The front of the lower boxes 
was covered with green drapery, the interior was lined 
with evergreens, and the rear was concealed by near 
two thousand stands of arms. The circular part was 
covered with an ornamented canopy resembling the 
cloth of a tent, from the centre of which was suspended 
an immense chandelier. The folds of the canopy 
wholly concealed the second range of boxes and all the 
house above it. The side scenes of the stage were 
removed as far back as possible, so as to admit the 
construction of an extensive oblong marquee richly 
decorated with sofas, pier tables, etc., and brilliantly 
illuminated. The theatrical effect of the house was 
thus entirely dissipated, and the whole of the visible 



28G RECORD OF THE BOSTON STAGE. 

interior was metamorphosed into two large marquees 
or pavillions opening into each other, which being sur- 
rounded with evergreen shrubbery mingled with stands 
of arms, produced the resemblance of an encampment 
prepared for a gala day, or such as the Soldan Saladin 
is represented to have made in honor of Richard, at the 
Diamond of the Desert. The floor of the saloon was 
tastefully painted by the bold and free pencil of Mr. 
Hubbard. The arms of the corps, its institution in 
1741, the date of its organization, 4 and its mottoes, were 
displayed with suitable blazonry in the marquee ; and 
the national arms, the eagle surrounded by a circle of 
stars, was also blazoned under and around the central 
point of the pavillion. The general effect of the whole 
design, when the ball room became filled with beautiful 
and fashionable women and well-dressed men, was 
indescribably charming. 

The Evening Gazette gave the following account: — 
" The company was estimated to consist of about six 
hundred individuals, of which perhaps the ladies were 
about three hundred and fifty. They were variously, 
elegantly, but most tastefully arrayed ; and it was a 
theme of general remark that individual taste appeared 
to have been much consulted in the selection of their 
dresses and the display of their ornaments, rather than 
an appeal to a particular fashion, which, by creating an 
uniformity of appearance, has a mean effect in a dance. 

"The Governor, whom the Cadets are attached as 
a body guard, was received with military music and 
conducted to a distinguished station at the farther 
extremity of the room ; various other public characters 
were present. 



KECORD OF THE BOSTON STAGE. 287 

" About half-past ten o'clock supper was announced ; 
and part of the company were escorted to the saloon of 
the theatre, which is an elegant room, superbly deco- 
rated for the occasion with flowers, flags, and military 
emblems. Plates were laid for two hundred and twenty 
persons, and not more than that number could be ac- 
commodated at once ; therefore the tables were re- 
plenished at different times in the course of the night. 
The viands were excellent, the confectionary display 
was rich and luxurious, and the wines were of such 
exquisite flavor as to gratify the most fastidious epicu- 
rian taste. The supper was furnished by Mr. Galla- 
gher, keeper of the Exchange Coffee House, and was 
very creditable to his abilities as a caterer. 

u Throughout the evening the managers were every- 
where sedulous, attentive, and courteous to all their 
guests ; and the members of the corps constantly dis- 
tinguished for their uniform urbanity and politeness. 
The dancing room in the early part of the evening was 
much crowded, but as the departure of many of the 
elder guests, at an early hour, gave the dancing room to 
the juvenile portion of the company, their enjoyment 
appeared to rise into hilarity and delight. 

iC The repetition of suppers was continued through 
the whole night, as well as the dancing ; and though 
the bulk of the company had departed by midnight, 
we believe the choice spirits remained, if not until the 
clock had given salutation to the morn, yet until the 
index of the watch admonished them that such a period 
would soon approach. We have seldom witnessed a 
scene of greater novelty, elegance, festivity, and social 



288 RECORD OF THE BOSTON STAGE. 

happiness than (his Cadet -Ball afforded on Washing- 
ton's birthright.* 

The above description, though it may not, strictly 
considered, form any part of a theatrical record, comes 

within our province as relating to the old theatre — 
the history of which we intended in the commencement 

to give from the day it firsf opened to ita recent demoli- 
tion. Other balls were subsequently held at the thea- 
tre, more or less brilliant. 

The Tremont re-opened on the 4th of April. Mr-. 
Barrett took a benefit) and that favorite and oft repeated 
petit comedy of " Perfection" was played for the first 
time. "Zembuca" was got np, but did not prove 
attractive, and what the manager made by Burke was 
all dissipated ere the- dose of the season. The different 
benefits revived in a degree the falling fortunes of the 
house, but too frequently empty benches greeted the 
sight of the performers. Even Cooper, who appeared 
in May, and preserved his physical energies and per- 
formed with unabated vigor, found that the magic spell 
which he had so often thrown over the Boston public, 
was broken, and the manager hailed the closing day 
(June 20) with pleasure. He left the city a wiser and 
•a poorer man. Among the benefits which proved most 
attractive was that of Mr. Finn's. His unique card 
.on this occasion was as follows : — 

PUBLIC ATTENTION 

Is most respectfully solicited to Finn's Panoramic Pills, sold at the 
Tremont Theatre, wholesale and retail. 

The celebrated Dr. Halstead has left the public a thumping legacy 
in his book on dyspepsia, but Doctor Logic would suggest that some- 



RECORD OF THE BOSTON STAGE. 289 

thing more is kneaded to eradicate loimess of spirits, and eight years 
of successful practice have enabled him to test the remedy, and 
recommend it as the best spring medicine to free the system from ill 
humor — as from it, he has frequently experienced great benefits; and 
that he is no quack, will be seen from the moderate length of his bill. 
The following certificate is selected from many millions which may 
be inspected : — 

" The subscriber had been for centuries afflicted with a total ex- 
tinguishment of suspended animation, till, hearing of your never-to- 
be-too-highly-thought-of-panoramic-pills, I was induced to take a 
box, when I was near the last stage. I immediately discovered the 
seat of the complaint, and the phiz-ic&l effects were apparent, prima 
facie. The malady received a check, and in the course of a few hours 
I could sit up, stand upon my feet, and finally walk out without as- 
sistance. I think I am but doing justice to proclaim the many heal- 
ing acts you have performed ; and to recommend a numerous attend- 
ance on "Wednesday evening, when I understand you intend adminis- 
tering a powerful dose of tincture of Myrrth, to be taken in /am." 

The Public. 



CHAPTER XX. 

The Opening of the Tremont. — Appearance of Mr. Anderson. — The 
Anderson Troubles in New York and Boston. — "The Gladia- 
tor."— Mr. Sinclair. — The Opera. — Frederick S. Hill. — Miss 
Mary Duff. — The Social Condition of Actors — The Hermanns. — 
The Ravel Family. — Opening of the Federal Street. — First 
Performance of the " Hunchback." — Mrs. Barrymore. — Benefit 
of John Howard Payne. — The Kembles. — Expiration of Mr. 
Dana's Lease. 

The Tremont was opened on the 4th of July this 
year, when Mr. Holland appeared. Mr. Russell, hav- 
19 



290 KICORD OF THE BOSTON STA I 

ing had quite enough of Boston, left it, and Mi. George 
II. Barrett was announced afl the manager. 

On the opening night, (Aogast 29th, 1881,) "WW 

Oats," and the "Highland Reel" were produced — 
both the comedy and the farce were by O'Kcefe. 
There was very little alteration in the company from 
the preceding year. Mr. Kilner re-appeared. Chfl 
Kean, Mr. and Airs. Hackett, (formerly Miss Le 
Suggs,) Mrs. Hughes, J. Jones, Clara Fisher, Mr. and 
Mia, Anderson, Forrest, Moos. Gooff) the Man Mon- 
key, (who appeared at the old house one night, and 
then went to the Tremont,) Burke, J. J. Adams, trage- 
dian, Pelby, Sinclair, F. S. Hill, Miss Mary Duff, Mrs. 
A. Drake, F. Brown, and Mr. E. C. Horn, were the 
most attractive. 

The prestige of Clara Fisher's name departed this 
season, and Kean did only passably well. Burke at- 
tracted good houses, but he was not run after. His 
brother, Master W. Burke, performed a solo on the 
violin on the occasion of Burke's benefit. 

Mr. Anderson and his lady, (formerly Miss Barto- 
lozzi,) were announced to appear in " Guy Mannering" 
on the 3d of November : — Henry Bertram, Mr. Ander- 
son ; Julia Mannering, Mrs. Anderson ; Col. Manner- 
ing, W. H. Smith , Dominie Sampson, Mr. Kilner ; 
Meg Merrilies, Mrs. Hill. 

Mr. Anderson had been the unfortunate cause of a 
theatrical row. On the passage to this country, he was 
indiscreet enough to utter certain disrespectful expres- 
sions in relation to Americans, the immediate conse- 
quence of which was trouble with the mate and passen- 
gers, and we believe that Jonathan and John came to 



RECORD OF THE BOSTON STAGE. 291 

blows, which resulted in the defeat of the latter. On 
the arrival of the vessel at New York, the mate and his 
friends took measures to form a party to prevent Mr. 
Anderson exercising his talents on the stage. Mr> 
Anderson, who was not without repute in his own 
country as a singer, had been engaged by Stephen 
Price to appear at the Park Theatre, and was accord- 
ingly announced in " Guy Mannering," on the 13th of 
October. Mr. A. was received on his entrance with 
hisses, shouts of " off ! " " off ! " etc., mingled with 
tokens of applause, which rendered it difficult to say 
whether the preponderance of the applause was for or 
against him. Mr. Thomas Barry, the stage-manager, 
endeavored to propitiate the audience, and obtain a 
hearing for the actor, but it was refused. After fre- 
quent fruitless attempts to obtain a truce, the play pro- 
ceeded, mainly in dumb show. In the papers of the 
following day Mr. Anderson published the following : 

TO THE PUBLIC. 

Having been last evening denied an opportunity of addressing you, 
I am compelled to make an appeal through the public prints ; a course 
I should have long since pursued, had I not felt unwilling, as a perfect 
stranger, to obtrude myself upon your notice, and thinking as I did 
that a personal explanation would be more appropriate and respect- 
ful. I am accused (as I have been informed) of speaking disrespect- 
ful of the American people. This I utterly disavow. On my passage 
to this country, I was unfortunate enough to have a disagreement 
with one of the passengers ; but any observation that may have fallen 
from me on that occasion was altogether of a private nature, and 
alluded solely to the individual with whom the difficulty existed. 
I appeal to your good sense, whether it is likely, nay, whether it is 
not absolutely absurd, that I should have had the insane hardihood 
to make use of disrespectful expressions tending to prejudice me in 
the opinion of a public, upon whose patronage I was entirely depen- 
dent, and whose good will and approbation I was and am most 



292 RECORD OF THE BOSTON STAGE. 

anxious to receive V May I then trust, that on the next occasion I 
have the honor of appearing before yon, you will not allow pr 
consideration, or private pique, to weigh so heavily against me In my 
public capacity, [have only to add, that when under exciton 
we are all liable to use (tho' 1 am not aware that I have) exprec 
wliich in more deliberate momenta we have occasion to deplore, li l 
have done any thing calculated to offend that pride of counl 
which I myself indulge as well as others, I deeply regret it; I would 
ask leave to make that apology which \a unquestionably due on inch 
an occasion. 

.1. R. Am)I.i:-<,\. 

The managers, deeming this card an ample apology, 
for any slight remarks which a foreigner might utter 
about America, announced Mr. Anderson for Saturday. 
the 15th Oct. The theatre was filled entirely with 
males, and it was made manifest long before the hour 
for the curtain to rise that there were two parties 
present, those in his favor and those opposed. The 
first act passed off without any disturbance, save an at- 
tempt made to hiss Thomas Barry, which was promptly 
quelled by the auditory, Mr. Barry making a brief 
speech. On the rising of the curtain at the second act, 
Mr. Simpson came forward, with a paper in his hand, 
which the audience rightly conjecturing to be the 
apology of Mr. Anderson, that we give above, refused 
to have it read. Mr. Simpson expressed the willing- 
ness of the management to abide by the decision of the 
public, and if it was the decided wish of the house that 
Mr. Anderson should be withdrawn, let it be distinctly 
manifested, and he pledged himself to comply. " Let 
him be withdrawn ! " — " Send him home ! " — " Yes, 
yes ! " — were the replies which thundered from all 
parts of the house. Mr. Jones was immediately substi- 
tuted, and the performances went on. The audience 



RECORD OF THE BOSTON STAGE. 293 

was a riotous one, but no attempt was made to injure 
property ; and their wickedness was confined to throw- 
ing apples and oranges on to the stage. An immense 
multitude had assembled outside, who not only contrived 
to fight among themselves, but committed sundry dis- 
graceful acts upon the theatre, by breaking the windows 
and lamps, alleging that the eagles which formerly 
adorned the latter had been removed by Mr. Price, 
who was hostile to American sentiment. This cause 
also led to the assembling of a crowd on the Sunday 
evening following, which broke a few panes of glass ; 
but the removal of the eagles had been done by Mr. 
Simpson w r hen the front of the house was repaired, 
during the previous season, unbeknown to Mr. Price. 
Mr. Anderson published statements and affidavits, 
which went to prove that the punishment was alto- 
gether unmerited ; and several papers which had been 
opposed to Mr. A. pronounced him an injured man. 
Mr. Anderson, however, concluded not to contest the 
question before the bar of public opinion in New York, 
but accepted an engagement here, and, as we have 
stated, was announced to appear on the evening of 
November 3, '31. 

The house was filled to overflowing. One or two 
ladies were in the boxes, but soon withdrew. Before 
the curtain went up, Mr. Barrett came forward, and 
stated that it was not the intention of the management 
to force Mr. Anderson upon the Boston public ; that 
the statement he had published, which was substantiated 
by the oaths of himself and three others, had not been 
denied or questioned ; and that the excitement in New 
York was unjustifiable. Mr. Barrett was warmly ap- 



294 RECORD OF THE BOSTON STAGE. 

plauded, and the play proceeded. On Mr. Anderson's 
appearance he was received with the most uproarious 
applauses, -which subsiding, a few who had the hardi- 
hood to oppose the overwhelming majority ventured a 
few faint hisses, which immediately produced a restora- 
tion of the applause, mingled with cries, — " Throw him 
over ! " — " Put 'em out ! " — " Out with the New 
Yorkers ! " The house, after a lapse of some minutes, 
became orderly, and every tiling passed on well until the 
third act was nearly through, when the crowd out>ide, 
instigated by a few New York Hotspurs, forced a way 
into the bars of the pit. The cry of fire was Raised, 
and confusion prevailed. The musicians fled, and for 
a time the affair looked serious, rendered doubly so by 
the breaking of the windows and lamps in front, the 
newly laid Macadamised street furnishing ready mate- 
rials for mischief. The actresses were so much alarmed 
that they left the theatre ; and though after the intrud- 
ers had been repulsed, and order restored, the audience 
called for the play to continue, the managers were 
obliged to pass to the farce, and no farther interruption 
was made. Several of the rioters were arrested and 
punished. Mr. Anderson published a card, thanking 
the public for their kindness, and completed his engage- 
ment successfully. He appeared as Captain Malcolm 
to Mrs. Anderson's Stella Clifton, in the " Slave, or 
Blessings of Freedom," Tom Tug, in the " Waterman," 
and gave a concert for the benefit of the poor, but the 
city government remitted the money to him. 

On the 14th of November, Forrest brought out the 
" Gladiator," written for him by Dr. Bird, w T hich was 
very successful. Mr. Pelby also produced " De Lara, 



RECORD OF THE BOSTON STAGE. 295 

or the Moorish Bride," written by Mrs. Caroline Lee 
Hentz, for Mr. Pelby. A very fine lithographic print 
by Pendleton is still extant of Mr. P. in this part. The 
" Water Witch," dramatized by Finn from Cooper's 
novel, had a good run. 

Mr. Sinclair, father to Mrs. Sinclair, made his first 
appearance on the Boston boards February 6, as Fran- 
cis Osbaldiston, in " Rob Roy," Mrs. Barrett as Helen 
Mc Gregor. He was pronounced, and undoubtedly was, 
the most accomplished male singer who then had ap- 
peared on the boards. After his* engagement, he gave 
concerts with great success. On Monday, March 5th, 
" Cinderella " was produced the first time in this city, 
with the following cast : — Felix, Mr. Walton ; Pam- 
polino, Johnson ; Dandini, Comer ; Alidon, Colling- 
born ; Pedro, G. H. Andrews ; Hunters, Leman, Rice, 
etc. ; Cinderella, Mrs. Austin ; Clorinda, Miss Eberle ; 
Thisbe, Mrs. W. H. Smith ; Fairy Queen, Miss McBride. 
Music and choruses under the direction of Thomas 
Comer, Esq. ; scenery by Mr. Jones, assisted by Sam. 
Stockwell. 

As a spectacle, nothing equal to it had been witnessed 
in Boston. The orchestra, lead by Milon from Phila- 
delphia, was full and effective, and the captivating Mrs. 
Austin sang with sweetness of tone and brilliancy of 
execution. It had a good run. Miss Hughes and Mr. 
Sinclair subsequently sustained the leading parts in this 
piece. 

On the 22d of April, 1832, Mr. Frederick S. Hill, a 
Boston boy, opened in Romeo, Mrs. Barrett as Juliet ; 
and subsequently performed Charles Austencourt in 
"Man and Wife," Charles Surface in "School for 



29G RECORD OF THE BOSTON STACK. 

Scandal/' and Henry Stanley in " Paul Pry," in all of 
which he acquitted himself to the satisfaction of the 
public. Mr. Hill was for many years connected with 
the National Theatre, but subsequently retired from 
the profession, devoting his attention to literature, in 
which as a critic and essayist he possessed peculiar 
powers. He appeared once of late years at the Howard 
Athenaum, a few months prior to his death, which 
occurred in 1851. 

Mr. Forrest and Mrs. Duff played an engagement, 
and in May 12, Miss Mary Duff, daughter of Mrs. 
Duff, appeared as Helen Worrit t a part in which she 
made her debut in Philadelphia, in the preceding year, 
where she also played Cora to Forrest's Rolla. In 
light, genteel comedy, she was quite good, and her 
mother's friends rallied around her and gave her hand- 
some encouragement. This actresses' theatrical career 
was quite a remarkable one. She was married in the 
year 1835 to Augustus A. Addams, a young actor of 
merit, and Judge Conrad wrote the play of "Jack 
Cade " for him. He was a son of John S. Addams of 
Worcester county, Mass. The union between Miss 
Duff and Addams was any thing but a happy one, both 
being guilty of indiscretions, which finally led to a 
separation. Mrs. Addams then contracted an intimacy 
with Mr. Joseph Gilbert, and a second time Mrs. 
Addams dissolved the connection, and continued to play 
at the various southern and western theatres, till 1st of 
August, 1852, when she died at Memphis, Tenn. 
Addams died in Cincinnati, 1850. 

We are happy to record that the profession in Amer- 
ica, so far as the respectability of its members in 



RECORD OF THE BOSTON STAGE. 297 

private life is concerned, never stood higher ; and the 
following, from the Westminster Review for January, 
1853, is equally applicable both sides of the water. 

We believe, says the Keview, there never was a 
period when actors, as a class, were more thoroughly 
respectable. Provident views, and a passion for ac- 
cumulation, have expelled the erratic and thriftless 
vice of by-gone generations. The old tavern propen- 
sities are gone out ; the reckless dissipative and pro- 
verbial excesses have disappeared. * * * * The 
sins of the stage become notorious — its virtues are 
seldom heard of, and people are apt to conclude that it 
possesses none. A man may go through life strictly 
discharging all his moral and social responsibilities, 
without exciting the slightest notice ; let him violate 
any of them, and his name is scandalized abroad at 
once. The same thing happens in reference to the 
stage. We are familiar, in a thousand exaggerated 
shapes, with its errors and lapses ; but nobody ever 
tells us any thing about its quiet charities, its home 
fidelities, its heroic triumphs over those special and 
most dangerous opportunities and temptations by which 
it is beset. The evil that is done is always known ; 
but " we know not what 's resisted ! " If we could 
trace these things to their source, we should discover 
that the stage is vitiated by contact with the great 
world, more than by any original taint in its own blood. 
The disgraces that have grown up in the theatre have 
been chiefly inflicted by the patronage of persons in 
power, who have introduced into the profession the 
individuals who have carried their shame into the green 
room. The theatre cannot escape the influence that 



298 RECORD OF THE BOSTON STALL. 

forces these vicious grafts upon it. Men of fashion like 
to see their mistresses OO the stage, and will make any 
sacrifice to get them there. It flatters their vanity, 
and procures them a sort of eclat they exult in. But 
the profession itself is not fairly chargeable with the 
discredit such circumstances have attached to it. Those 
who have been born and bred in it are not the pen 
who have degraded its reputation ; and, with a pes 
able allowance for their position, there is no clasi in 
the community more remarkable, for constaney and 
devotion in their domestie relations. 

"Aladdin" was brought out this season at the 
Tremont. Aladdin, Mrs. Barrett; Kassrac, TV. H. 
Smith. The latter part of the season was somewhat 
affeeted by the visit of the Hermanns, who gave their 
musical soirees at the Masonic Temple, and by the new 
amphitheatre at the North End, whieh was the com- 
mencement of the National Theatre. The season 
closed July 9th. 

The season of 1832-3, commenced on the 27th of 
August, George H. Barrett as acting manager. The 
company included Messrs. Finn, Smith, Comer, and 
other favorites. The opening play was Goldsmith's 
comedy of " She Stoops to Conquer " with a fancy 
dance by Misses Eberle and McBride, followed by " My 
Master's Rival," a laughable farce. The stage was for 
the^r^ time lit with gas. 

The stars this season were Hackett, Miss Vincent, 
"Wallack, (after an absence of three years,) Miss 
Hughes, C. E. Horn, Forrest, Charles Kean, Booth, 
Sinclair, Kembles, father and daughter, C. H. Eaton, 
and others of less note. 



RECORD OF THE BOSTON STAGE. 299 

The season was not without incident worthy of note. 
Mr. "Woodhull, a good melo-drarnatic actor, and Miss 
Courtney, a fine looking woman, correct in her reading, 
graceful, lively and dashing, made their appearance. 

Miss Vincent, quite a young actress, was exceed- 
ingly popular in such parts as Letitia Hardy, Bertha, 
Clara, Miss Hardcastle, Kate O'Brien, etc. She pos- 
sessed a slight but beautiful figure, a face beaming with 
intelligence, and a most musical voice, which, without 
any great degree of cultivation, enabled her to execute 
the incidental songs in the pieces with good effect. The 
admirers of this lady were chiefly of the younger por- 
tion of the community. Mr. "Wallack, daring his 
engagement, brought out " The Brigand," in the second 
act of which he Bang " Love's Bitonella," which was 
the aii* of the times. This engagement was successful. 
Mr. Forrest ran through his usual range of pieces, and 
brought out " Uralloosa, or the Son of the Incas," writ- 
ten by Dr. Bird. 

On the 16th of November, that unequalled troupe of 
pantomimists, the Ravel Family, made their first appear- 
ance in Boston. The family then consisted of ten per- 
sons, and they attained at once that popularity which 
has continued until the present time. The " Carnival 
of Venice " and other pieces, drew crowds to the old 
Tremont. 

On the 12th of November, the Federal Street Thea- 
tre was opened by the managers of the Tremont, and 
continued open for several weeks. Forrest appeared 
at the old house one night, and the Eavels the night 
following, and by thus appearing alternately the attrac- 
tion was kept up. Charles Kean also appeared at the 



300 RECORD OF Tin: BOSTON STAGE. 

old theatre, supported by Hamblin and Miss Vincent, 
and then went to the Tremont. The object of keeping 
opes both homes was to effect, If possible, the success 
of the little Warren Theatre. The box tickets at the 
Tremont were Si. 00 ; at the Frederal Street, fifty cents; 
and purchasers of box tickets at the Tremont, had the 
privilege of entering the oM house the same evening, 

without additional charge. On the 21st of November, 
J. Sheridan Knowles' popular play of the '•Hunch- 
back" was produced for the first time, at the Tremont 
Theatre ; the play bad been brought out on the even- 
ing previous, (20th iust.,) at the "Warren, for the first 
time in Boston. At the Tremont, the cast was as fol- 
lows : — Matter Walter, Chas. Kean; Sir Thos. Clif- 
ford, Hamblin ; Modus, George Barrett ; Lord Tinsel, 
\V. II. Smith ; J/dia, Miss Vincent; Helen, Mrs. Bar- 
rett With such support it could not have failed of 
success. The fine display of talent witnessed in the 
concentrated efforts of Kean, Hamblin, and Miss Vin- 
cent, filled the house nightly, and the legitimate drama 
well presented, drew — as it invariably will — the 
fashion and talent of the city. 

Mrs. Barrymore appeared at the Tremont, on the 
17th of December. She had been playing at the 
Warren. This lady was among the first who intro- 
duced to the Boston stage a style of dancing attractive 
from grace alone, and entirely distinct from that school, 
the most important feature of which appears to consist 
in the zephyr-like drapery, and the immodest quantity 
worn at that. Mrs. Barrymore appeared as the Wife 
and Widow in the " Soldier's Wife and Soldier's 
Widow," and during the season, made a great hit as 



RECORD OF THE BOSTON STAGE. 301 

Fenella, in the opera of " Masaniello," which was put 
on the stage in the most perfect manner, the vocalists 
consisting of Mr. Sinclair, Miss Hughes, Mrs. Austin, 
etc., and the chorus led by Mr. Oliver. " Artaxerxes," 
the " Tempest," " Guy Mannering," " Fra Diavolo " 
and "John of Paris," were also produced, and drew well. 

On the 2 2d of February, Mr. Smith recited a poem, 
written by Mr. Stephen Bates, on the anniversary of 
Washington's birth-day. 

In the month of April, 1833, a benefit .was given by 
the citizens of Boston to John Howard Payne. This 
gentleman, after an absence of nearly twenty years, 
which had been passed in England and France, re- 
turned to the city of his early triumphs. Many kind 
friends resolved to imitate the example set in New 
York, and give Mr. Payne a benefit ; for like many 
others, he returned from England and France not 
much enriched by his long sojourn abroad. A prepara- 
tory meeting was held at the Tremont House, and a 
committee of gentlemen appointed to carry out the 
object. The evening of the 3d of April was selected 
for this testimonial at the Tremont, and the pieces con- 
sisted entirely of selections from the various plays of 
Mr. Payne as follows — " Life in Humble Life," 
" Theresa," " The Lances," and " Charles II." Although 
the selection of the pieces was a graceful compliment 
to the beneficiary, and very appropriate to the occasion, 
it proved unfortunate, as they had been acted here a 
hundred times. The night selected was also unpropi- 
tious, preceding, as it did, the general Fast, when many 
families in this city unite in social' gatherings. These 
and other causes rendered the attempt — so far as 



303 BECOBD 01 THE BOSTON STACK. 

pecuniary reward was intended — a partial failure, but 
the character of the audience gave proof of the estima- 
tion in which Mr. Payne was held both as a man and 
an author. During the evening, Mrs. Barrett recited 
the following address, written for the occasion by Park 
Benjamin, Esq. : — 

ADDRESS. 
Could some enchantress, by her magic spell, 
Fair as Love's Goddess from her ocean-shell, 
Chase the dim vapors that conceal the past 
And o'er Time's sea a tender radiance cast; 
What various scenes, to gladden and surprise, 
Would to your view, in bright succession, rise! 

- ! our age has unroinantic grown, 
And fanev h the sole enchantress known. 
Invoke her aid, and from her starry bower, 
She may descend to gild the passing hour. 
Through the long vista of departed years, 
What vision first, in Fancy light, appe. ■ 
See yonder group of happy playmates stand 
Round one who seems the leader of the band ! 
Hi- cheek is blushing with the rose's bloom, 
Why o'er his forehead waves a crimson plume ? 
His form, for Cupid's, might well be adored, 
Why is it girded with the glittering sword ? 
He speaks — the group disperse — now formed once more, 
Behold on air a silken banner soar, 
In seried ranks, with measured steps, they come. 
Hark ! the shrill fife and spirit-stirring drum. 
What field is this ? Who leads this gallant train ? 
'Tis Boston Common — Captain Howard Payne. 
The scene is changed — lo! in the still midnight, 
A lonely student, by his lamp's faint light. 
Pale in bis cheek — his eye all dim with tears; 
Can such deep grief belong to childhood's years ? 
A son, his tribute affection pays — 
To her whose smile had blest Life's early days. 
Can this frail student be the radiant boy 
Whose heart so late was redolent of joy? 



RECORD OF THE BOSTON STAGE. 303 

Ah, yes ! immured in Learning's cloistered shade, 

Like a caged eagle's, does his spirit fade. 

Once more a change of scene — and such a change ! 

A stage — a theatre — how brightly strange ! 

A simple lad, in cap and tartan dress, 

Yet proud his bearing and suberb his crest — 

" My name is Norval." Norval ! can it be ? 

Transformed so quickly ! that sweet voice — 'tis he ! 

That smile — lip half curled in high disdain, 

That graceful form — nine cheers for Master Payne ! 

Let blushing honors gather round his fame — 

This "happy deed shall gild his humble name; " 

For the wide stage his youthful footsteps press, 

To shield a much-loved father from distress ; 

And, greeted thus by richly-earned applause, 

" "Who shall resist him in a parent's cause? " 

Loud were the praises that his welcome gave, 

In that far land beyond th' Atlantic wave. 

There, like a halo, on his young brow fell 

The laurel-garland he has worn so well ! 

Another change — within so brief a span, 

Has this fair boy become a serious man? 

'Tis true — but sacred in his bosom glows 

Are like that which bums mid Alpine snows. 

Though tempests shatter the volcano's throne, 

Though Winter belt him with an icy Zone, 

Still do the splendors of his lofty head 

On regions round a sunlike lustre shed. 

So Genius, left to poverty and woe, 

Whose rending thoughts the world can never know, 

In its lone majesty, all coldly shrined, 

Throws its broad gleam along the realms of mind. 

A change of scene — the nearest and the last, 

We need no spirit to reveal the past; 

For, lo ! 'tis present and before you now, 

The warrior-child, with sword and plumed brow ; 

The student, bending o'er the written page; 

The actor, proudly marching on the stage ; 

The author, bringing forms to life and light, 

Which here reflected you may see to-night— 

At length has come — Heaven grant no more to roam — 

To his own native land, his " home, sweet home ! " 



304 RECORD OF THE BOSTON STAGE. 

At the close of the address, the orchestra struck up 
"Home, sweet Home," after which there arose a loud 
and general call for Mr. Payne, which was prolonged 
till the beneficiary made his appearance. He was, at 
first, greatly agitated, but soon recovering himself made 
a very appropriate address. 

Mr. Payne's benefit was somewhat injured from the 
fact that the Kembles, who at first refused to visit Bos- 
ton, on account of the management declining to accede 
to terms, which were equivalent to giving them the 
whole receipts and paying their expenses besides, wen 
shortly announced to appear. On the loth of April, 
Charles Kemble opened in " Hamlet;" Laertes, Smith ; 
Horatio, Williamson \ Ophelia, Mrs. Barrett; and on 
Tuesday, April 1G, 1833, the celebrated Miss Fanny 
Kemble made her first appearance before a Boston 
audience in Rev. II. EL Milman's play of "Fazio, or 
the Italian Wife." Fazio, Kemble ; Bartolo, Johnson ; 
Philario, Williamson; BlANCA, Miss Kemble. Dur- 
ing their engagement, they appeared together in the 
" Stranger," " School for Scandal," " Romeo and Juliet," 
" Provoked Husband," " Gamester," etc., creating an 
excitement in the dramatic world of Boston and 
vicinity. The tickets were sold at auction by Messrs. 
Coolidge & Haskell, and crowded houses, composed of 
the beauty and wealth of the city, assembled to honor 
Miss Kemble and her father. 

During this engagement, C. H. Eaton played Master 
Walter, in the " Hunchback," with the Kembles, elicit- 
ing the greatest applause, for his masterly impersona- 
tion of a part upon which depends the success of the 
play. 



RECORD OF THE BOSTON STAGE. 305 

The Federal Street was again opened on the 3d of 
June, by Barrett, when the " Cataract of the Ganges" 
was the principal attraction. Master Burke appeared 
at the Federal Street and then went to the Tremont, 
but his engagement was not very successful — the visit 
of General Jackson to this city monopolizing the atten- 
tion of the public. 

On the 8th- of July, Mr. and Mrs. Barrett took a 
farewell benefit, the last night of the season. Mr. 
Barrett was called out, and bid his Boston friends 
farewell, stating that circumstances beyond his control 
compelled him to part from the Boston public. 

With Mr. Barrett's engagement terminated the lease 
of three years, taken by Francis W. Dana. The terms 
of this lease were that the corporation should rent the 
bars for themselves, and that Mr. Dana should pay for 
the rent of the rest of the building a certain per 
centage on the receipts. The result was that by his 
arrangement with Russell and Barrett, Dana paid on 
an average a rent of about $2,200 a year, while the 
bars produced about $2,500, and the corporation de- 
rived in the aggregate from both sources a rent of 
something short of $5,000 a year. Mr. Dana refused to 
renew his lease upon any terms except part profits, or 
some other contingent contract depending upon receipts, 
which the directors declined. On his retirement from 
the lesseeship, Mr. Dana gave a dinner at Nahant to 
the leading actors and other gentlemen connected with 
the theatre. Mr. Dana was a shrewd business man. He 
was highlv respected in the community, and at his 
death, which occurred in August, 1835, the public 
mourned the loss of an enterprising man. 
20 



306 RECORD OF THE BOSTON 6TAGE. 



CHAPTER XXI. 

Biographical Sketch of Charles H. Eaton. — The Season of 1833-4. — 
Thomas Barry, Esq. — His First Season in Boston. — Tyrone Pow- 
er. — The Vint Of the Woods to Boston. — Dana v. K<-iiihlc. — 
Recollections and Reminiscences of the Woods, etc., etc. 

To a majority of our readers, at all conversant with 
theatricals, the name of Charles II. Eaton will aroiw 
melancholy yet pleasing memories. He was- born in 
Poplar Street, Boston, June 10th, 1813, and died at 
the Exchange Hotel, Pittsburgh, June 4th, 1843, aged 
nearly 30 years. His father, though obliged to contend 
with advene fortunes in his declining years, was an opu- 
lent merchant in the meridian of life ; his son, Charles, 
therefore, received an excellent English education. 
After several years' tuition at the Fort Hill School, 
he was admitted to the English High School, where his 
academic course was completed ; at one period he was 
a pupil of the Latin School, (then on School Street,) 
where he pursued the preparatory studies requisite for 
admission to college. The decided bent of Mr. Eaton's 
mind for the stage, early manifested itself. While a 
mere lad, he joined a private theatrical society, called 
the " Siddo?iians" Never was there a more earnest 
and assiduous devotee of Thespis, than this youthful 
aspirant for Siddonian honors. The crude tyros who 
became constant patrons of the society, prided them- 
selves upon appreciating and fostering native talent ; 
C. H. Eaton, being greatly superior to his fellow 
amateurs, very assiduous and verbally accurate in all 



RECORD OF THE BOSTON STAGE. 307 

his parts, stood confessed to their admiring gaze, a 
" star of the first magnitude ! " His first public appear- 
ance in the profession, to which he was eminently 
adapted, was in the winter of 1833, at the Warren 
Theatre ; on this occasion, he played " The Stranger" 
in Kotzebue's tragedy of that name, for the Benefit of 
Mr. Reuben Meer. It was a most triumphant debut, as 
many of our readers well remember. Eaton's masterly 
delineations of character, immediately succeeding this 
his first professional effort, convinced all who were 
competent to judge, that his mind had the impress of 
genius. No actor of our day ever excited such uni- 
versal interest as a debutant. A series of able person- 
ations of most arduous characters won for the youthful 
histrion, "golden opinions from all sorts of" journals. 
His second appearance was at the Tremont Theatre as 
Richard III., a few months after his debut ; it was a 
most effective and startling performance ; the unex- 
pected display of such excellence riveted the attention 
of his auditory. On the following morning, nearly 
every paper in Boston, that ever contained theatrical 
notices, lavished the highest encomiums upon the per- 
formance. Attached to the Commercial Gazette at the 
time was the most approved dramatic critic of Boston. 
His criticisms were received with implicit faith as 
oracular, " ex cathedra " announcements. He observed 
substantially of Mr. E.'s delineation of the Duke of 
Gloster, that he attended the theatre with the expecta- 
tion of witnessing a laughable burlesque ; he had anti- 
cipated that this new aspirant for Roscian immortality 
would follow in the footsteps of his illustrious predeces- 
sor, and his rash attempt prove a miserable abortion ; 



308 RECORD OF TIIE BOSTON STAGE. 

his astonishment was consequently great, upon witness- 
ing, instead of the predicted caricature, a most masterly 
piece of acting. " In the last scene," said Mr. T., " Mr. 
Eaton (whom but for his t big i manly voice,' I should 
have called Master Eaton) seemed a very fiend incar- 
nate ; his look and mien constituted a thrilling picture 
of in tensest rage." The next performance in order of 
time, was Damon on the same week. The house 
crowded. At the close of the play, George Barrett, Esq., 
grasping his hand, exclaimed, " You young dog ! how 
can you play so well ? It is wonderful ! " At the 
termination of this engagement, at the instance of his 
friends, Mr. E. retired to Burlington, (a small town near 
Boston,) to cultivate and improve his great natural 
powers. With treatises on elocution, an able work on 
gesticulation and posturing, (illustrated by plates,) and 
other requisites for the object in view, he there devoted 
several months with untiring industry to improvement 
in the vocation of his choice. Mr. Eaton paid great 
attention to his voice, acquiring a very great variety of 
intonation. The following fall, he returned to his native 
city. The Kembles were about appearing there for the 
first time. John 0. Sargent, then assistant editor of 
the Atlas, and recently one of the editors of the Wash- 
ington Republic, suggested that it would be a fine 
opportunity for him to give the elite of Boston a " taste 
of his quality." A large number of our citizens, promi- 
nent for talent, wealth, and station, had become Eaton's 
personal friends. A written request that he might 
appear with the renowned foreign artists, numerously 
signed, was sent to the management of the Tremont 
Theatre. The late Dr. Ingalls headed the list, and the 



RECORD OF THE BOSTON STAGE. 309 

signature of the lamented Lynde M. Walter followed. 
The wishes of so many gentlemen, eminent and influ- 
ential, were readily complied with. Mr. Eaton enacted, 
as we have noted above, Master Walter to Miss Fanny 
Kemble's Julia ; the house was crowded from floor to 
ceiling, but the young Bostonian, nothing abashed, 
armed with the confidence of true ability, proved him- 
self fully equal to his task. He was received with 
deafening plaudits, and throughout the evening divided 
the applause with that lady, who had come among us 
an adorable divinity, with all the halo of her transat- 
lantic triumphs. The play was repeated with the same 
cast and the same success. During the evening, Mr. 
Charles Kemble complimented Eaton highly, remark- 
ing that he was a fine reader, with a voice more power- 
ful and melodious than any actor's within the scope of 
his experience. We well remember the attractive 
personal appearance of C. H. Eaton at this period. He 
was a decidedly handsome man ; his head and face 
being strikingly intellectual. The features were what 
is understood as classical; a long, straight, Grecian 
nose, facial oval contour, chin rather long and rounded, 
a mouth made beautiful by a finely curved upper lip, 
combined with a clear, light, healthy complexion, will 
convey some idea of his pleasing exterior; his dark 
hazel eyes were full, large, and expressive, while a 
profusion of dark auburn hair, slightly curling, adorn- 
ed his manly brow. Charles H. Eaton was not a large 
man, being but five feet six and a half inches in height ; 
but he was very far from diminutive ; his full, ample 
chest, the stately carriage of his head, and the great 
muscular development of his well-rounded limbs, made 



310 RECORD OF TIIE BOSTON STAGE. 

him seem above the medium size, though not " ex pede 
Herculem" in grace and dignity of mien he moved an 
Apollo. In 183o he made his first theatrical tour. At 
his farewell benefit, he played Brutus in the " Fall of 
Tarquin." The Tremont was thronged. He was im- 
mediately engaged to play in Philadelphia, at the Arch 
Street Theatre. This was in October. After personat- 
ing most successfully his principal characters, at the 
expiration of three weeks he went to Baltimore. While 
in Philadelphia, James Gordon Bennett, then a demo- 
cratic editor, became his warm personal friend. In the 
" monumental city" he played a fortnight at the Holi- 
day, and at the Front Street the same length of time. 
The most prominent parte were Richard, Othello, Iago, 
Pescara, Damon, Brutus, Shylock, Sir Giles Overreach, 
Sir Edward Mortimer, etc. The whole winter of '36 
and a part of the ensuing spring were spent in Wash- 
ington, where he had once more an opportunity to play 
with the Kembles and other celebrities. He here con- 
tracted a personal intimacy with some of the legislative 
magnates of our land. Some of the southern represen- 
tatives who had not hitherto heard him, exclaimed, upon 
witnessing his Master Walter, with constitutional ardor, 
" Whom have we here ? A resurrection of the elder 
Kean ! A second Kean is among us ! " etc. Upon his 
return to Boston the following autumn, the reception 
that awaited him was most enthusiastic. Mr. Pelby 
engaged him at the National. Every ticket was sold 
for several successive nights. This engagement was a 
most lucrative one for both manager and actor. Shortly 
after its termination, Mr. Eaton went to Bangor, where 
his success was unprecedentedly brilliant. That city 



RECORD OF THE BOSTON STAGE. 311 

was still enjoying the ephemeral prosperity consequent 
upon the eastern land speculations. He played to a full 
house each night, and on his benefit night more than a 
hundred paid for the privilege of being " lobby members." 
His two engagements here, and the one in Boston im- 
mediately preceding, yielded him several thousand dol- 
lars. About a month subsequent to this, Mr. E. effected 
another engagement at the National, for the purpose of 
playing the part of Bernardo del Carpio, in a tragedy 
of that name, written for him by Henry F. Harrington, 
Esq. Uncommon pains were taken to have it produced 
in a proper and effective manner ; new and costly 
dresses were made for all the leading characters, and 
W. H. Smith, than whom no man living is more com- 
petent to the task, exerted himself strenuously to afford 
it a fair field. The author, Mr. Harrington, is a forcible 
writer, a man of decided talent, especially that peculiar 
talent essential to the success of a playwright. Unhap- 
pily, the author, who had within him the innate materiel 
of a first rate dramatist, did not, on this occasion, avoid 
the rock upon which novitiates of every description are 
so liable to founder. He attempted too much with his 
hero, and in reaching too high he over-reached, unob- 
servant of the modesty and probabilities of nature. The 
part of Bernardo is a continuous, ever-increasing tornado 
of all the passions ; — love, grief, hatred, despair, re- 
venge, till piled-up horrors — Pelion upon Ossa — cap 
the stormy climax ! An effective impersonation of 
Bernardo would require the strength of Alcides, and 
the Bull of Bashan's lungs ! Mr. Eaton evinced his 
immense physical power by playing it five successive 
nights with unflagging energy. At this period he was 



312 RECORD OP THE BOSTON STAGE. 

in the prime of vigorous manhood, industrious and am- 
bitious. The succeeding four or five years were passed 
by Mr. EL at the Bouth-weet, where he enjoyed great pop- 
ularity, personal and professional. Upon his return to 
Boston in 1 s 12, he played two engagements, evincing 
that refinement and chaste finish resulting from experi- 
ence and mind. His last appearance in Boston vras in 
the fall of 1842, at the Tremont Theatre, where he 
personated Richard III. to a house tilled with his 
friends and admirers, who, alas! little thought that 
their eyes rested for the last time on him whom every 
one loved, and of whose genius all were proud ; but 
such was the stern fiat of inexorable fate ! At Pitts- 
burgh he commenced an engagement, on the second 
night of which he played William Tell to a house filled 
to its utmost capacity. Being exhausted by the even- 
ing's exertion-, he went to his hotel about eleven o'clock, 
and retired to his chamber. While an attendant was 
unlocking his door, he reclined upon the balustrade 
fronting it ; while in that position he was seized with a 
dizziness, consequent upon a rush of blood to the head, 
a complaint to which he was subject. This sudden 
vertigo caused him to reel backwards ; and the staircase 
being spiral, or what is termed a " well" stairway, he 
was precipitated the distance of forty or fifty feet to the 
marble flags below I It was found that his skull and 
one arm were fractured. Every possible attention was 
paid to him by the warm-hearted citizens, but he failed 
gradually, despite the best medical attendance, and died 
on June 4th, 1843, after five days of intense suffering. 
Soon after the untimely decease of the lamented trage- 
dian, a committee was chosen by the citizens of Pitts- 



RECORD OF THE BOSTON STAGE. 313 

burgh to collect funds for the erection of a monument 
to his memory. We have understood, and it is very 
painful to believe, that certain members of that com- 
mittee were false to the sacred trust reposed in them. 
Before closing the compendium of C. H. Eaton's profes- 
sional life, we wish to allude cursorily to his style of 
acting. It was peculiar, — strictly " sui generis." With 
all the physical essentials of face, form, voice, and na- 
tural grace, he was enabled, thus richly endowed, to 
convey fully and forcibly his minutely accurate and 
scholarly conceptions. His performances all bore an 
intellectual impress. As a reader of Shakspeare, he 
was unsurpassed. 

Mr. Dana, having refused to renew his lease, as we 
have stated, the directors were anxious to procure a 
manager, at once competent and able to take charge of 
the establishment. There were several applicants, but 
none who possessed the requisite, talent. The name of 
Thos. Barry, then stage-manager at the Park Theatre, 
was suggested, and he was offered the house ; and on 
his acceptation of it, there was universal regret in New 
York, universal rejoicing in Boston. " It will not be 
easy," said a New York editor at the time, " to make 
up the loss of Mr. Barry to our audience. He is the 
best stage-manager in America, and his gentlemanly 
deportment and estimable character have acquired for 
him universal respect here, and he carries with him the 
best wishes of a large number of warmly attached 
friends." Nearly twenty years have passed since this 
was written, and though Mr. Barry has experienced 
the vicissitudes of this life, and has passed through 
scenes calculated to render a man of less nerve and 



31 1 RECORD OF TIIE BOSTON STAGE. 

philosophy somewhat irritable) the same mildness of 

demeanor, the game frankness of manner, wins to him 
all with whom he comes in contact, and still entitles 
him to "universal respect." '1 his remark does not 

apply merely to his friends in the outer world, but to 

members of his own profession, who respect him as one 
who ia an ornament to it, and never disgraced his call- 
ing by any act which bore the slightest shade of mean- 
ness. 

Mr. Barry's first move was to pot the theatre in 
complete repair, which it greatly needed. This he did 
at an expense of $5,000, which came out of his own 
pocket. The interior was repainted, new drapery pro- 
vided, and gas introduced into the body of the house, 
much to the satisfaction of the ladies, many of whom 
could trace a ruined dress to a visit to the theatre, 
owing to the dripping of the oil from the lamps. He 
secured the services of Messrs. Finn, Andrews, Smith, 
Johnson, Comer, Williamson, Colinbourne, Leman, etc., 
etc., Mrs. Hughes, Mrs. Smith, Miss McBride, Mrs. 
Barnes, Mrs. Campbell, Mrs. Ilolden, with Messrs. 
Forbes, Blake, Barry, Whiting, Miss Duff, Miss A. 
Fisher, and Mrs. Blake combined, made a strong stock 
company. Mr. Barrymore was director of spectacles, 
Mr. Comer musical director, and Mr. Ostinelli leader 
of the orchestra. The season commenced on the 2d of 
September with the " Honeymoon," in which Mr. Barry 
played Duke Arcuiza, and Miss Duff Juliana, followed 
by the farce of « Turn Out." Receipts, $482.75. The 
stars this season were Mr. Kemble, Fanny Kemble, 
Tyrone Power, Ravel Family, C. H. Eaton, Forrest, 
Hacket, Mr. and Mrs. Wood, Mr. Drake, etc. 



RECORD OF THE BOSTON STAGE. 315 

On the 4th of September, Mr. Kemble and Fanny 
Kemble commenced an engagement and performed 
eighteen nights ; the total receipts, with premiums, 
amounted to $11,671.75. The most productive night 
was that of " Isabella," and the " Chimney Piece." It 
was at this time that the case of Dana v. Kemble com- 
menced. The facts in the case were briefly these. Mr. 
Dana was lessee of the Tremont Theatre, when Mr. 
Kemble and his daughter came to the United States 
and commenced playing at New York. After a vexa- 
tious and protracted negotiation, Mr. D. concluded, 
through Mr. George Barrett, then manager of the Tre- 
mont, an engagement with Mr. Kemble for the service 
of himself and daughter, on the terms demanded by 
him, and which were the same as those under which he 
played at the Park, and which he (Mr. K.) said, at the 
time of the negotiation, were " one half the houses" that 
is to say, one half of the gross receipts during his en- 
gagement. Under this representation of Mr. Kemble, 
the engagement was concluded. He and his daughter 
came to Boston, played a number of nights, were paid, 
as per contract, and departed again to the South. Mr. 
Dana, as we have stated, relinquished the theatre, and 
Mr. Barry became lessee. Mr. Dana was in the habit 
of visiting the box-office, being on friendly terms with 
Mr. Barry, and happened in one day at the conclusion 
of the Kembles' engagement. Mr. Barry appeared to 
be troubled, and Mr. Dana asked the cause. " Why," 
said Barry, " the referees in the matter of premiums 
cannot agree." "What is the case?" inquired Mr. 
Dana. Mr. Barry then briefly explained, that he had 
sent to Mr. Kemble a check for the balance due on 



316 RECORD OF THE BOSTON B1 

their engagement, and thai Mr. Kemble refuted to 

i*. alleging thai he should have; a Bhare of the 

premioms. The matter was left out. This Led to some 

farther conversation, when Mr. Barry, alluding to the 

Kembles' engagement in New York, stated that their 

terms at the Park, where he was then stage-manager, 

instead of being a clear halt' of the bouse, a- stated by 
Kemble, were, half after deducting £50 ($222.22) per 
night Mr. Dana had based his engagement with the 
Iveinhles upon the ground that they had received a 
dear half; and having heard the story of the refusal of 
the money from Barry, walked quietly down to his 
lawyer, and Mr. Barry was shortly served with a 
trustee process and Mr. Dana commenced a suit to 
recover that which had been paid, through the misre- 
presentation of Mr. Kemble. The case was finally 
decided in the Supreme Judicial Court in February, 
1835, when the jury, having heard the evidence, 
awarded Mr. Dana all his demand, with interest, 
amounting to $2,500. "W. II. Gardiner for the plaintiff, 
and S. D. Parker for the defendant. 

Tyrone Power, known in the theatrical world as 
" Paddy Power," whose name is never ment'oned 
without bringing to the mind his sad fate on board of the 
steam-hip President, made his first •appearance in this 
city on the 30th of September, '33, as Sir Patrick 
O'Plenipo, in the " Irish Ambassador," and McShane, 
in the " Nervous Man." As a delineator of the genteel 
Irishman, Power was without a rival, and his equal is 
not now on the boards. Power has undoubtedly been 
surpassed in some pieces, those of a lower order, where 
the rough Irishman is portrayed, but never where the 



RECORD OF THE BOSTON STAGE. 317 

genuine humor of the part required a delicacy of coloring, 
and an almost intuitive conception, has he been equal- 
led. He was among the first to render tolerable this 
class of plays ; and though we have since had Collins, 
Williams, Greene, Brougham, all good, the true Paddy 
after all was Power. 

The great ovation of the season was the appearance 
of Mr. and Mrs. Wood, (formerly Miss Paton,) who 
created as great an excitement almost as the more 
recent arrival of Jenny Lind. 

The Woods made their first appearance in Boston 
on the 4th of December, 1833, in Rossini's opera 
" Cinderella," or rather the English version of it, which 
differs materially from " Cenerentola." Very great 
expectations had been excited in reference to Mrs. 
Wood, and the highest perfection any one dared to 
imagine was attained in her performance. Endowed 
with a voice of extraordinary compass, excellent qual- 
ity and great power, she brought to the execution of 
her music remarkable cultivation and scientific attain- 
ment, with that command of feeling and expression 
which touches and moves the mass. Her articulation 
was distinct, and her execution, however rapid, always 
clear. The nicest gradations of light and shade had a 
lovely example in her treatment of the music, and from 
" Once a king " to " Now with grief," she held the audi- 
ence spellbound with the enchantment of her voice and 
its astonishing capability. The silvery tones of that 
wonderful voice had full display in the duet, " Whence 
this soft and pleasing flame," the entire consent and 
blending of her softest zephyr-like tones, with the 
mellow voice of Mr. Wood, having a magical effect. In 



318 RECORD OF THE BOSTON STAGE. 

the finale, her wondrous execution and sweep of voice, 
51 1' ii ely electrified the audience, united as this 
traversing of the scale was, to power and richness, 
never before observed in a soprano of such agility and 
flexibility. Mr. Wood agreeably surprised, nay even 
astonished his public by the grace and fluency of his 
execution, the sweet mellow and full tones of a voice 
ranging from the upper bass to high tenor, and the 
manly elegance of his person. From the opening air 
" Morning its sweets is flinging " to his introduced solo 
in the ball scene, all bespoke him such a tenor as Bos- 
ton had never looked upon before. The recollection of 
his exceeding grace and beauty in the softer passages, 
and the thrilling force and passion of "Can I my love 
resign," will never be effaced from the grateful remem- 
brance of those who heard Mr. Wood in " Cinderella." 
With all the power and rich tone of the best Italian 
singer who has since visited this city, he also possessed 
a facility and exquisite grace in the piano and pianis- 
simo none of them have united in the same person. In 
a word he brought to his execution of music the rich 
and glowing strength of Bettini, and the soft delicate 
beauty of Salvi, with the flexibility and truth of Perelli. 
The subordinate characters were admirably presented 
at this time, Comer being the Dandini, Johnson the 
Baron, and the envious sisters were done to the life by 
Mrs. Blake and Mrs. Smith. 

After this opera, came " Guv Mannering," " The 
Barber of Seville," " Love in a Village," " The Water- 
man," " Der Freischutz," " The Devil's Bridge," " The 
Quaker," " Massaniello," "The Marriage of Figaro," 
" Clara and the Slave," in all of which the Woods 



RECORD OF THE BOSTON STAGE. 319 

sustained that enthusiasm and unequivocal public favor 
their first appearance had produced. In all this wide 
range of music they were found to be accomplished to 
a degree unimagined in any experience at that period. 
Every style they attempted brought them new triumphs, 
and their concert performances increased the list until 
new record of pieces executed became synonymous 
with perfect success. Nothing like their duets has ever 
been heard in this city since, excepting perhaps the oc- 
casional hit of Madame Bishop, and Reeves in Linda, 
and the exquisite blending of voice by Tedesco and 
Perelii. With the Woods, however, this fusion and 
blending of voice and soul in song, was the rule and 
constant practice. After playing in opera about one 
month they left for the South. In October, and De- 
cember, 1835, they had two engagements here, when 
"The Maid of Judah," " Fra Diavolo," "Robert the 
Devil," and " La Sonnambula," were brought out. In 
the two former Mr. Wood made a great sensation, by 
his singing of " When the Trump of Fame," " Young 
Agnes," and " Proudly and Wide," and lead of the 
chorus in " Under the Shady Greenwood Tree." In 
both the characters of Ivanhoe and the Brigand, he 
looked as admirably as he sang. Pending the produc- 
tion of " Robert the Devil," Mrs. Wood chanced to be 
indisposed, and Mr. W. chose to be offended by a 
notice of it in the Post. He wrote the editor a pep- 
pery note which received a severe reply, and Mr. 
Barry, the manager, in a pet, stopped his paper, adverr 
tisements, etc. The Post gave the opera a hard run 
for this, and followed Mr. Barry with slaps. Whea 
" La Sonnambula " appeared, however, all came rouna 



320 RECORD OF THE BOSTON STAf.i:. 

again ; the public and the Post were alike delighted, 
and both the Woods recovered their former popularity. 
The opera took Boston literally by storm, and the 
Bliperb acting of Mrs. Wood, in close of act second, 
with her brilliant, electrifying rush over their senses in 
•• Ah, don't mingle," made her again the popular idol. 
Wood's presentment of "Still so gently," has seldom 
been surpassed even by Italian singers of the highest 
grade, and in the concerted pieces, the Woods moved 
in perfect harmony. Madame Otto did good service in 
" Lisa," and Mr. Brough made his only hit in the 
Count. "La Sonnambula" had a great run, that 
opera and •• Cinderella " being the prime favorites of 
Boston in those day-. 

Mrs. Wood made Am rim difficult for all her succes- 
sors, both her acting and singing in that character 
satisfying the most fastidious. She made the rondo 
finale to carry a vast amount of most brilliant execu- 
tion, and tasked her invention for new difficulties and 
truly wonderful vocal feats. 

In March, 1836, another engagement was played at 
the Tremont, with a farewell benefit, on the 17th, in 
" La Sonnambula." 

Some years afterwards the "Woods revisited Boston, 
when it was found that his voice had gained in volume 
and certainty during the interval, and hers, on the con- 
trary, had fallen off in both particulars. Their popu- 
larity had been affected by absence, the intervention of 
many other wonders, and his quarrels with the press. 
Musicians generally and singers especially are by 
nature and the force of habit, very sensitive, and the 
•Woods should not suffer in public estimation for this 



RECORD OF THE BOSTON STAGE. 321 

foible beyond their due proportion of popular indignation.. 
A reference to our list of operas, in which they were 
distinguished, is sufficient to appease their incensed 
accusers, leaving their gems of concert performance as 
most delightful remembrance. Who that ever heard 
Mrs. Wood in " We Met," " Savourneen Deelish," 
"I've been Eoaming," "Should he Upbraid," "Bid 
me Discourse," " Come where aspens quiver," or Mr. 
Wood in " The Soldier's Tear," " The Sea," " The 
Maid of Langoellen," "My Love is like the red red 
Rose," " The Angel's Whisper," will ever forget them ? 
In 1840, the Woods revisited this country, but he 
did not appear on the first night of the opera at the 
Park Theatre, being indisposed to encounter hisses and 
uproar, on account of his feud with the Courier and 
Enquirer critic. Mrs. Wood had a good reception, and 
with her introduction to popularity, Mr. Wood finally 
overcame the hostility his folly had provoked. On the 
7th of December, 1840, the Woods re-appeared in this 
city at Tremont Theatre, in the favorite " La Soimam- 
bula," with Brough, Andrews, and Mrs. Smith, for 
aids. They had a warm greeting from old friends and 
enthusiastic admirers. For the first week good houses 
were attracted by the old spell, and the_ charm of Mrs. 
Wood's " While this heart," and " Ah, do n't mingle," 
with his " Still so gently," appeared to have lost none 
of its power. Brough, however, gave a chill to his 
friends, by the falling oiF in " As I view now." Dur- 
ing this engagement, which terminated December 28th, 
"The Beggars' Opera," "The Maid of Judah," " Guy 
Mannering," " Clari," " The Waterman," " Love in a 
Village," " The Quaker," and " Cinderella" were pre- 
21 



'322 IIECOUI) 01 III ■ BOSTON STAGE. 

Rented, the latter liaving a good run. In the music of 
" Evanhoe," Mr. Wood gave convincing proof that his 
voice had wonderfully improved both in power and 
firm attack of those notes above the staff, which formerly 
gave him not a little annoyance to seize upon and hold, 
as might have been expected from an organ partaking 
of the baritone and tenor. It has been made a seri- 
ous complaint againri this singer that he strained too 
evidently upon B flat in alt, especially in the great solo 
from " La Sonnainbula." A reference to subsequent 
examples of pure or high tenor voices even contraltino, 
would, however, find the same defect, and too frequent 
(resort to falsetto on such ticklish passages. In the 
song, "When the trump of fame," made Ivanhoe's 
great solo, Mr. Wood's improvement was brilliantly 
manifested as the" sudden rise upon the words u lied 
with gore," had at his former visit not unfrequently 
baulked him. Now that and other difficulties were 
taken with electrical power and gracing ease, bringing 
down the house in shouts of applause for such feats of 
skill and thrilling force in alt. The concert perform- 
ances of this gifted pair did not renew that excitement 
of the old time wdien the Masonic Temple was crowded 
every Saturday evening with the elite of Boston and 
•its suburbs, and four encores for one song attested the 
hold of his public Joseph Wood then enjoyed. But 
two concerts were attempted during his last visit — 
both gjven after the close of the operatic engagement. 

The Boston Post says of the last, that some two 
hundred persons only attended. The entertainment 
was better than the first, and Mr. Wood did not appear 
so poorly. It concludes a list of causes for this small 



RECORD OF THE BOSTON STAGE. 323 

attendance by saying,- " This is a fickle world." Two 
causes beside the want of novelty, and Mr. Wood's 
quarrelling with critics had a powerful influence against 
them. Caradori had many determined advocates, who, 
in 1834, were sorely grieved with opposition by the 
"Wood clique, and now repaid their debt of injury. 
The other, and perhaps the most potent of all, was 
found in the distress which prevailed during 1840, the 
year of hard cider and log cabins, retrenchment of ex- 
penditure, and violent absorbing political excitement. 



CHAPTER XXII. 

Joseph Wood. — His Sudden Rise and the Cause. — James G. Mae- 
der. — Anecdotes. — Receipts of the First Boston Engagement. — 
The Kembles. — Mr. Barry's Second Season. — Park Benjamin's 
Address. — The Appearance of J. Sheridan Knowles. — Charles 
Mathews, etc. 

The sudden rise of Joseph Wood, to whom we 
alluded in the last chapter, to a firm position among 
tenor singers of the first rank in English opera and 
ballads, surprised all his cotemporaries in the musical 
world, and fairly astonished the public. With the Eng- 
lish version of Rossini's " Cenerentola," he bounded 
into fame, and the certainty of that wealth he speedily 
realized. In connection with the performance of 
* Cinderella " in English, and the commencement of Mr. 



324 UKCORD OF THE BOSTON STAGE. 

Wood's career, this narration of facts came from one 
intimately acquainted with its hero. 

While the adaptation yet remained in the hands of 
its getters op, and expectation was highly excited for a 

new proof that .Mr-. Wood's voire and brilliant execu- 
tion of the most difficult music had close affinity to per- 
fection; a difficulty in regard to a tenor lit to enact the 
Prince and execute the music in a style worthy a com- 
parison with the heroine, threatened ruin to a hopeful 
speculation. 

Mr. Wood had no place in the listof candidates, and 
no one was deemed available by those interested. The 
sagacity and keen appreciation of .1. (i. Maeder made 
the operatic spectacle a harvest of gold, and crowned 
Joseph Wood in tic Prince with laurels fresh and fair. 
While conversing in the green room about the all im- 
portant tenor, Bfeader informed Mr. Wood that lie pos- 
sessed a fine voice and might accomplish the part if he 
would but try. Wood laughed heartily at the joke, but 
Meader insisted upon a trial and finally got Wood to 
work, he being the accompanist with the piano-forte. 
With so good a teacher, rapid progress in the art of 
singing was obtained, and ere many days had elapsed, 
Wood himself began to think Maeder's jest and quiz 
might prove a most pleasant reality. After drilling his 
pupil in the music allotted the Prince, Mr. Maeder 
determined to introduce a song, which could not fail to 
excite a sensation when given by such a voice as Mr. 
Wood's rehearsals proved him possessed of. " Can I 
my love resign," gave eclat to " Cinderella " and from 
the first hearing to its last, that bravura invariably 
thrilled and delighted the audience. The opera was 



RECORD OF THE BOSTON STAGE. 325 

decidedly successful on the opening night, and Mr. 
Wood amply justified his training. He was enthusias- 
tically applauded throughout, and the introduced song 
brought down the house. It was encored with frantic 
shouts of joy over a new found treasure, and from that 
moment Joseph Wood became a celebrity. Previously 
she alone engrossed popular regard, now their united 
attention swept all before it, and when to America they 
came, all other musical stars were at once eclipsed, if 
not extinguished. 

Unfortunately for Wood, he was unable to sustain 
this unexpected success with dignity and quiet self- 
possession, but undermined his popularity by frequent 
squabbles with editors and critics, and damaged the 
"Woods," by apparently sharp dealings, with those 
who assisted in their great triumphs. His shrewdness 
and promptitude in money matters were, it is said, fully 
exemplified at the moment of his departure from this 
country. Like many other Englishmen, the strong 
temptation of eight per cent, annual dividend enticed 
Wood into United States Bank investments, and entire 
belief in the solvency of that institution. He became a 
large stockholder, and deposited his surplus earnings 
there for safe keeping. Just before it failed he obtained 
some knowledge of coming events, withdrew his deposit 
and embarked for England in the first packet which sailed 
after the bank stopped payment. The ship was detained 
in the Irish Channel by adverse winds, and Mr. Wood 
hired a boat to put himself and family on shore at 
Milford, Haven. From thence he took post to London, 
and, being a day or two in advance of the disastrous in- 
telligence, succeeded in running off all his United States 



326 RECORD OF THK BOSTON STAGE. 

Bank stock at saving prices. When the news tran- 
spired a great fall immediately ensued, and some news- 
papers assailed Wood for this Yankee trick, done by ■ 
keen Yorkflhireman. A denial was somewhat feebly 
made by his friends, but the world believed the whole 
story and laughed heartily at Wood's activity in the 
preservation of property accumulated with so much ease. 

The Woods soon after returned to England, and, in 
1843, she went into a convent, he to a farm near York. 
A year or two since she emerged from obscurity to 
astonish Dublin with the brilliancy of her execution in 
the old list of operas, but Mr. Wood held fast to his 
new profession and the enjoyment of a hard-earned 
competence. 

The receipts of the Woods' first engagement in Bos- 
ton were as follows : — 

1833. Dec. 4th, Cinderella, .... $687 25 

" ■ 6th, " 590 75 

" " 9th, Guy Mannering, ... 608 25 

" " 10th, Cinderella, 558 50 

" " 12th, Barber of Seviye, ... 564 50 

" " 13th, Love in a Village, . . . . 330 25 

" " 16th, Barber of Seville, and Waterman, 823 50 

" " 17th, Barber of Seville, and Waterman, 439 60 

■ " 19th, Der Freischutz, . . . . 623 00 

■ " 20th, Barber of Seville, and Waterman, 414 75 
" " 23d, Der Freischutz, . . . . 657 25 
" " 24th, The Devil's Bridge, ... 739 75 

" " 26th, Masaniello, 511 25 

" " 27th, The Devil's Bridge, ... 452 50 

" " 30th, Massaniello, 492 50 

" " 31st, Cinderella, 355 25 

1834. Jan. 2d, Barber of Seville, . . • 379 50 
" " 3d, Drama and 2d Act Masaniello, . 354 50 
" " 4th, Marriage of Figaro, and Clari, . 811 75 

$10,394 50 



RECORD OF THE BOSTON STAGE. 327 

We have heard many anecdotes of Mrs. "Wood, and 
the following we find floating round the newspapers. 
We do not vouch for its accuracy: — 

" A general, living in the neighborhood of Philadel- 
phia, who had become suddenly rich, furnished a house 
in a costly manner, and gave gay parties. He had 
little else but his wealth, however, to render them 
attractive ; his wife, being especially untutored and un- 
polished, as he had married before he became rich, and 
both were elevated to their present importance without 
the requisite personal qualifications to sustain it. To 
render one of their parties more than usually popular, 
they invited Mr. and Mrs. Wood among their guests. 
These at first respectfully declined, on the ground of 
fatigue ; but they were pressed with so much earnest- 
ness, that they at length were subdued into consent. 
When the entertainments of the evening were fairly 
commenced, and several ladies among the visitors had 
sung, the hostess invited Mrs. Wood to seat herself at 
the piano, as the company would be delighted to hear 
her beautiful voice ; but Mrs. Wood begged, with a 
very serious countenance, to be excused. At first, the 
astonishment created by this refusal was evinced by a 
dead silence, and a fixed stare ; but at length, the dis- 
appointed hostess broke forth : 

" 'What ! not sing ! Mrs. Wood ; why, it was for this 
that I invited you to my party. I should not have 
thought of asking you but for this ; and I told all my 
guests that you w r ere coming, and that they would hear 
you sing !' 

"'Oh!' replied Mrs. Wood, with great readiness, 
' that quite alters the case ; I was not at all aware of this, 



328 i:i.< oki) OF Tin: boston stack. 

or I should not have refused ; but since you have invited 
me professionally, I .-hall of course sing immediately ! ' 

u 'That 's a good creature !' rejoined the host 
thought you could not persist in refusing me.' 

"So Mrs. "Wood seated herself at the piano, sang 
delightfully, and, to the entire gratification of hostesi 
and guest-, gave, without hesitation, every song -he was 
asked for, and some were encored. On the following 
day. however, when the host and hostess were counting 

up the coal of their entertainment, (for, rich a< they 

were, they had not lost their former regard for economy,) 
to their utter consternation there came in from Mr. 
Wood a bill of two hundred dollars for Mrs. Wood's 

'professional services 1 at the party of the preceding 

evening, accompanied by a note couched in terms which 
made it quite certain that the demand would be legally 
enforced if attempted to be resisted ; and, however 
much the 'general' and his ' lady ' were mortified by 
this unexpected demand, they deemed it most prudent 
to pay it and hold their tongues." 

There is a reminiscence connected with the first pro- 
duction of La Sonnambula in this city, on the 28th of 
December, 1835, which is amusing. On their return 
the Woods did not make that immediate sensation in 
Boston that they anticipated from their previous success. 
The New York papers had been extremely laudatory 
of" La Sonnambula," and for that the Bostonians were 
reserving their dollars. Its production was not intended 
by the management, and it was only the result of cir- 
cumstances, that it was brought out at all. The houses 
were very poor, considering the attraction, and Mr. 
Barry was at a loss to account for it, while the Woods 



RECORD OF THE BOSTON STAGE. 329 

were chagrined at their lack of popularity. The matter 
was discussed on the stage one day, when Mr. Comer 
suggested the propriety of bringing out " La Sonnam- 
bula." Mr. Barry listened to the proposition ; but Mr. 
Wood declared that it could not be done under four or 
five weeks, and about twenty rehearsals would be re- 
quired. " I will guarantee," continued Mr. Comer, " to 
produce it in a fortnight from Monday." "Impossible," 
said Jo Wood, " for this is Friday." Mr. Barry looked 
upon Mr. Comer as if he doubted the possibility of 
bringing out an opera, which was entirely new to chorus 
and orchestra, while Brough appeared to consider it 
impracticable. After dinner that day, the Woods and 
Barry talked the matter over. Those troublesome 
members of society, yclept editors, wer* asking, " When 
are we to have ' La Sonnambula ? ' " and the public re- 
echoed the query. " I wish," said Wood, looking at 
his glass of rich burgundy, 'as he held it up, " that 
Comer could accomplish what he proposes." " I have 
no doubt," rejoined Barry, " that if he undertakes it, it 
will be done within the time specified." " Do you really 
think it possible ? " asked Mrs. Wood ; — "it would be 
a great feat to bring it out in that time." Mr. Barry 
confessed he was startled when Mr. Comer first pro- 
posed it, but since he gave it thought he believed it 
might be done. " Let us send for Comer, then," said 
Mr. Wood, who rung the bell, and despatched the ser- 
vant with a note. Mr. Comer was soon in the presence 
of the trio, who inundated him with interrogatories, and 
presented to him an entire chaos of objections. " All I 
ask," said Mr. Comer, " to carry this to a successful 
termination, is entire liberty to do just as I please, 



330 RECORD OF THE BOSTON STACJK. 

without dictation or interference; on Monday fortnight 
I guarantee a performance of La Sonnambula which 
shall he creditable to all concerned." 

- What say, Barry?" asked Wood. 

" I think it is best to let Mr. Coiner proceed." 

'/Well then, Comer, we are all of one opinion; go 
ahead, you have carte Uanche." 

Coiner declined remaining, and on taking the piano- 
forte score observed that it would have to be separated, 
and given to copyist-, to which tiny gave consent; and 
before the next morning at 10 o'clock, the scriveners, 
by aid of the midnight lamp, had six copies made. The 
chorus were BUmmoned, and informed of what had been 
undertaken. Mr. Oliver thought it a hazardous job, 
but joined heart and \oice in the attempt, and was sup- 
ported by Capt. Sam. Adams and the other choristers. 
The saloon of the theatre was occupied by Mr. Comer, 
drilling the chorus ; the greenroom by Ostinelli, with 
the orchestra, and the progress was wonderful. The 
chorus in six days had acquired a knowledge of several 
choruses, and they were finally approaching perfection, 
when Brough and Wood came in, and the former was 
very desirous to try his songs with the chorus. This 
Mr. Comer declined doing, alleging that the time occu- 
pied in going over his role might enable the choruses to 
rehearse their parts at least half a dozen times. The 
gentlemen took the hint, and did not again interfere. 
The time approached, and Mr. Comer redoubled his 
efforts ; and when ready for a full rehearsal, Mrs. Wood 
for the first time made her appearance, and was aston- 
ished at the perfection of the whole. The last rehearsal 
was had, when Mrs. Wood suggested that so long as 



RECORD OF THE BOSTON STAGE. 



331 



Mr. Comer was there to direct and lead, it might do, 
but expressed a fear that on the night of performance 
the chorus might not be so au fait in taking up the 
answers. Mr. Comer, however, had foreseen this diffi- 
culty ; and to guard against it, he appeared on the first 
night of " La Sonnambula " as a peasant, and by con- 
stant action and attention, he brought the chorus up to 
the work, and contributed materially to the success of 
the piece. 

The receipts previous to the production of this piece 
had fallen as low as two hundred dollars per night, the 
week but one preceding netting only $1,626.75. The 
receipts of La Sonnambula were as follows : — 



1835. 



1836. 



Dec. 


28, 


La Sonnambula, 


$648 25 




29, 


" 


" . . . . 


685 25 




30, 


a 


M .... 


720 50 


tt 


31, 


u 


a 


699 00 


Jan. 


1, 


u 


u 


814 25 


u 


4, 


. « 


u 


740 75 


u 


5, 


a 


u 


666 50 


u 


6, 


u 


u 


654 00 


11 


7, 


u 


u 


716 25 


u 


8, 


u 


a 


782 25 


it 


11, 


(1 


" Tickets at auction 


820 00 



$7,947 00 

One might suppose that such energy on Mr. Comer's 
part would have met with some appreciating mark of 
respect ; and so it did, for the next day Mrs. Wood 
pressed his hand, and left in the palm a small package. 
On opening it a small silver snuffbox was found, bear- 
ing a suitable inscription. Of the real value of the box 
some idea may be gleaned, when we state that the 
recipient at once regaled the orchestra and choristers ; 



332 KIX'ORD OF THE BOSTON 

and on affording them an opportunity to drink the 
health, prosperity, and generosity of the donors, in a 
temperate maimer, expended about four times its value. 
In justice to the manager, Mr. Thomas Barry, be it 
.-aid, he fully appreciated the efforts of Mr. Comer, and 
p re s en ted him with a very handsome and appropriate 
silver goblet. The first production of " Fra Diavolo " 
by the Woods in this city, in 1834^was also noted by a 
miniature low. Previous to the arrival of the Woods, 
Mr. Barry intimated to Mr. Comer, that he had just 
received the piano forte score from them of the opera of 
"Fra Diavolo," and that the part of Lorenzo must be 
assigned to Mr. Thomas Walton, who had been singing 
with the Wood- in New York, giving as their rea>on 
that Mr. Thomas Williamson, then a popular vocalist, 
and a member of the Tremont company, was incom- 
petent to sustain the part. Mrs. Wood also hinted that 
the facial features of Mr. Williamson, who unfortu- 
nately had damaged his nose, were objectionable. Mr. 
Barry asked Mr. Comer his opinion of Mr. Williamson's 
ability to do justice to the part, and having received 
assurance of his qualifications, gave him orders to re- 
hearse the songs. The Woods came, and with them 
Mr. Walton, who rehearsed Lorenzo, the Woods having 
made up their minds to have him in the opera at any 
rate ; but they found, on the rising of the curtain, that 
vox populi is more potent than the arbitrary will of 
vocalists, for Mr. Williamson's friends had assembled 
in great numbers. The overture was played, and the 
curtain rose ; but no sooner did the multitude behold 
Walton as Lorenzo, than shouts of disapprobation com- 
menced. He attempted to speak, but it was useless. 



RECORD OF THE BOSTON STAGE. 333 

Mrs. Wood appeared, but the uproar continued. Mr. 
Barry came forward to explain, and was heard, but not 
to the satisfaction of the audience, and many were an- 
ticipating a riot, when Williamson was discovered in 
the second tier of boxes. The uproar increased, when 
an "unknown voice" shouted, — " Tom, go and put on 
your flannels ! " Mr. Williamson retired, and in a few 
minutes it was announced that the part of Lorenzo 
would be sustained by Mr. Williamson. The opera re- 
commenced, Mr. W. appeared as Lorenzo, and the 
performances closed amid great applause. 

The Kembles appeared several times this season. 
Mr. Barry aimed at making the drama attractive, and 
to lift it to a moral standard ; and with these views he 
procured all the available stars of the day, and at the 
close of his first season, received from the press and the 
public the greatest praise for his efforts. Aside from 
the stars enumerated, Mr. and Mrs. Barrett returned, 
and appeared in " School for Scandal," etc. 

The second season of Mr. Barry's management, that 
of 1834-5, commenced on the 1st of September, with 
but little change in the company. Mr. John Gilbert, 
Mr. and Mrs. Barrett were added to it. 

The stars were Clara Fisher, C. H. Eaton, J. Sher- 
idan Knowles, Booth, Yankee Hill, Cooper, Mrs. Aus- 
tin, Miss Phillips, Mr. J. Wallack, Fanny Jarman, 
Celeste, Miss Watson, Emma Wheatley, A. A. Adams, 
— a galaxy indeed ! 

The opening plays were, " Every one has his Fault," 
and the " Bold Dragoons ; " the receipts were $515.50. 
A poetical address, written by Park Benjamin, was 
spoken by Mrs. Barrett. If we except Mr. Sprague 



81 I RECORD OF THE BOSTON STAOi:. 

Mr. Benj&min'f productions, on such occasions, are pre- 
eminently worthy of attention. Though written for a 
special purpose, and consequently limited somewhat in 
their interest, they possess merit sufficient to command 
the attention of every lover of poetry. There is in the 
following several excellent ideas clothed in words which 
are most musical to the ear : — 

ADDRESS, 

Spoke* by Mrs. Barrett, on the opt rting of (he Tremont Theatre, on 

the wight <>f In r r< turn t<> the Boston Stage. 

\:\ PARK Bl.NJAMIX, ESQ. 

When o'er the waste of waves some wanderer roams 
From his own country's free and happy homes — 
His native Land just blending with the sky — 
What tears of sorrow dim his straining eye! 
But when returned, theM happy homes appear, 
And every prospect, to his bosom dear, 
Unchanged in beauty, risag to his sight, 
How, like a fountain, springs his new delight ! 
So, for awhile, when forced to bid adieu 
To much-loved scenes, and, ah! sweet friends to you, 
Sad were my thoughts — but now, when I behold 
Your welcome smiles and hear your welcome told 
In language long familiar to my heart, — 
The woman, not the actress, plays her part. 

To-night, the drama from her brief repose 
AVakes into life, with purer radiance glows, 
And, onward led by your approving hands, 
Like some bright Goddess in her temple stands. 
Here is her shrine and here her votaries throng, 
To tell her glories in their choral song. 
Here Painting, Music, Poetry combine 
Their votive wreaths to make her half divine. 
Lo ! where dark Tragedy sweeps proudly by, 
Darts the swift lightning from her clouded eye, 
Shows the red dagger and the poisoned bowl 
And turns to ice the currents of the soul. 



RECORD OF THE BOSTON STAGE. 335 

Ha ! ha ! see where old Comedy derides 
His solemn sister — how he shakes his sides ! 
A different knife and bowl he loves to keep, 
Calls other spirits from the vasty deep, 
And slyly beckons, with a knowing glance, 
Mirth-making nrasic to lead her out the dance. 
Music ! ah, who of all I see around 
Loves not the enchanting harmony of sound ? 
Last in the train comes Painting, clothed in light, 
To show the beauty of the world at night. 
When darkness rests on all external forms 
Her mimic splendor every object warms, 
In our own land to our delighted eyes 
Gleam the soft colors of Italian skies : 
Mountains and rivers, palaces and towers, 
All, at her magic summons, all are ours ! 

Cheered by her smiles, each lovely art attends, 

On you it calls its best and kindest friends. 

For you the Drama, on her favorite stage, 

Holds up her faithful mirror to the age. 

Oh ! keep it bright ! that here, reflected true, 

Her hideous features Vice may shrink to view; 

And, Heaven-born Virtue here may ever trace 

The mild reflection of her angel face. 

Your voices, then ! the Drama's power proclaim, 

And with new laurels crown the Drama's fame. 

On the 13th of October, 1834, J. Sheridan Knowles, 
the author of many of our popular plays, appeared for 
the first time in Boston as Master Walter, in his own 
play of the " Hunchback." Mr. Knowles was received 
in New York most cordially ; in Philadelphia he had 
been tendered a public dinner, and these facts, with the 
novelty of an author bodily delineating the creatures 
of his imagination, gave a zest to the public appetite. 
Few authors, we may remark en passant, have taken 
leading parts in their own dramas. Garrick performed 
his own Lying Varlet, Macklin was great as Sir Perti- 



33G KIX'ORI) OF THE BOSTON STA< 

max and Sir . f/v7/y, and Colley Cibberwas remarkable 
fop his performances in the "Careless Husband" tad 

some other of his plays. They had passed from the 
stage before Knowles appeared. Since bis day, there 
arc hut few who have combined the qualities of play- 
wright and aetor. Miss Kemble, Miss Vandenhoff, and 

Mrs. Mowatt, are- the only ones of modern date, who 
has succeeded in this duplicate and difficult task. 

Mr. Knowles appeared as Master Walter, in the 
" Hunchback," to George Barrett's Sir Thomas Clif- 
ford,~Mrs. Barrett's Julia, and Mrs. W. II. Smith's 
Helen; also, in "William Tell," " Virginius," "The 
Wife, or a Tale of Mantua/' all his own productions, 
and in "Macbeth." Mr. Knowles, (and we mention 
this for the benefit of some actors, who differ in their 
conception,) communicated a very different impre 
of Master Waller, from what the younger Kean had 
done. Instead of the gruff, morose old man, Mr. 
Knowles make him out a very amiable man, plotting 
nothing but the happiness of those whom he best loved. 
Virginius was deemed his best impersonation, but in 
all his plays he developed new beauties, and brought 
out points which had escaped the notice of others. Mr. 
Knowles possessed a pleasant voice, dashed, however, 
with a little of the " brogue " of his native land. On 
his opening night he was called out, and made a brief 
speech, returning thanks for his enthusiastic reception, 
and closing thus — " The least said, my friends, soonest 
mended ; if I try to say any thing more I know I shall 
make some blunder — so God bless you ! " Cheer after 
cheer was given for Paddy Knowles, as the warm- 
hearted Irish dramatist loved to write himself. 



RECORD OF THE BOSTON STAGE- 337 

The receipts of Knowles' nights, Mr. Booth playing 
on his occasional off nights, were : — 



1834. 



October 13th, 


Hunchback, . 


$690 50 


" 14th, 


WiUiam Tell, . 


. 381 50 


" 15th, 


Virginius, 


357 50 


" 16th, 


Hunchback, 


. 287 75 


" 17th, 


The Wife, 


307 50 


" 20th, 


Macbeth, . 


. 327 00 


" 22d, 


Wm. Tell, (Benefit,) 


663 00 



$2,923 25 

Mr. Knowles has, of late years, abandoned his old 
path in the walks of literature, and having joined the 
Baptist church, is now devoting all his energies to the 
propagation of the gospel. The English papers lately 
recorded his delivering an address on religion, and 
defying any Roman Catholic to meet him in open 
debate. In a late number of the Home Journal, the 
following paragraph appeared : — 



" A letter received by the last steamer, from our distinguished and 
deeply-valued friend Knowles, brought freshly to mind the delightful 
hours which we enjoyed in his company when, fifteen years ago, he 
was a temporary resident among us. Mr. Knowles is now in the 
sixty-eighth year of his age, the fifty-fourth of his authorship — he 
wrote a play in his fourteenth year — and the thirty-second of his 
fame; for it was the triumphant success of " Virginius," in 1820, 
that established his position as the dramatist of his time. We regret 
to learn that Mr. Knowles has not escaped the infirmities to which 
his advanced age exposes him. For the last three months he has 
been a severe sufferer from an attack of bronchitis, and has, three 
times in the same period, had to encounter his old enemy, the gout. 
At the date of his letter, however, he was slowly, but he hoped, 
surely recovering. Our friend speaks warmly of the happy period 
of his residence in this country, and expresses a strong desire to 
renew the friendships which he then formed. We need not say how 
22 



338 RECORD OF THE BOSTON STAGE. 

cordially this desire is reciprocated by ourselves, and by all who 
had the singular happiness of an acquaintance with him. Two 
hemispheres admire his genius; but only those who have sat with 
him iit the fireside and the convivial board, in unrestrained and oft- 
repeated converse, know what a kindly, generous, and noble heart 
beats in the bosom of James Sheridan Knowles. May he live long 
to enjoy the honors which he has won, and the leisure which his 
country has bestowed upon him! " 

To his credit be it said that Mr. Sheridan 
Knowles, on his return from the United States, was 
offered £2,000 by a London bookseller, for an abusive 
book upon America. Mr. Knowles promptly declined 
the offer. 

Miss Phillips, from London, then only twenty-two 
years of age, made her appearance in Boston as Juliet, 
to J. Wallack's Romeo, on the 10th of November. 
Her impersonation of this character was pronounced 
in New York fully equal to any thing that had been 
seen, but the Boston critics were of a different opinion. 
The characters represented by her were Belvidera, 
Julia, Mrs. Holler, etc. 

Mr. Cooper also appeared this season, and Charles 
Mathews arrived in town and commenced an engage- 
ment on the 10th of December, but was taken sick and 
for many days confined to his room. He was able 
finally to re-appear, and took his farewell benefit — a 
long farewell it proved, for he never returned ; on the 
5th of January, 1835, when lie gave "The Youthful 
Days of Mr. Mathews," and "The Lone House." The 
engagement of Mr. Mathews would have proved, if 
he had not been taken ill, one of the most profitable of 
the season. As it was the receipts were large : — 



RECORD OF THE BOSTON STAGE. 339 

1834. Dec. 10th, " At Home," and Monsieur Tonson, . $584 00 
2d Vol. Comic Almanac, and Lone House, 810 50 
Sketch Book, Before Breakfast, 
Memorandum Book, Monsieur Tonson, 
Poor Gentleman, .... 
Comic Annual, .... 

1835. Jan. 1st, Before Breakfast, etc., 
Youthful Day, and Lone House, . 

$3,544 00 



Dec. 


10th, 




22d, 




24th, 




26th, 




29th, 




31st, 


Jan. 


1st, 


« 


5th, 



. 415 00 


308 75 


361 75 


. 204 50 


305 75 


. 553 75 



CHAPTER XXIII. 

Fanny Jarman. — F. S. Hill's Prize Poem. — Miss Charlotte Cush- 
man's First Appearance. — Miss Watson. — Her Intrigue with 
Paganini. — Mr. Harrington, Professor of Ventriloquism. — The 
Old Theatre. — The Season of 1835-36. — The Veteran Dowton. — 
James Murdock. — First Appearance of Miss Clifton. — Mr. and 
Mrs. Keeley. — Epes Sargent's " Bride of Genoa." — First Appear- 
ance of Ellen Tree. — Lines by John Q. Adams. — Receipts. — 
Leman, Charlotte Cushman, etc. 

Miss Fanny Jarman appeared this season, (1834-5). 
She had been very well received at New York, and 
chose the character of Julia, in the " Hunchback," for 
her first appearance in Boston, on the 9th of January, 
1835. Her husband, (for Miss Jarman was married,) 
Mr. Tiernan played Master Walter with considerable 
discrimination, though the chief attraction was his wife. 
With a person tall and commanding, Miss Jarman pos- 
sessed a voice of much sweetness in its tones, and con- 



340 RECORD OF THE BOSTON STAGK. 

siderable power. Her face was comely without being 
striking, and with actions and motions graceful and 
interesting, she proved a very attractive actress. The 
houses rarely during this engagement fell below $500, 
and on the occasion of a benefit, when the " Jealous 
Wife " and " Perfection " were performed, there was 
$910.25 in. Mr. and Mrs. Tiernan subsequently played 
several engagements in this city, and she is at present 
in London. 

Mr. Smith, at his benefit this year, recited F. S. 
Hill's prize poem, dedicated to the Boston Fire Depart- 
ment, for which the beneficiary awarded the premium 
of $50. It proved very attractive, drawing $640.50, 
and has frequently been recited since. Celeste, during 
her engagement, brought out February 2, 1835, the 
"Wept of the Wish Ton Wish!" which drew great 
houses. On the occasion of her benefit, ($1,126,) she 
delivered an address to her Boston friends. At the 
annual benefit ($716) of Mrs. Smith, her sister, Miss 
Eliza Riddle played Julia, in the " Hunchback," to Mrs. 
Smith's Helen, with marked success. 

Towards the close of the season, Mrs. Maeder, for- 
merly Miss Clara Fisher, appeared as Paul in Buck- 
stone's " Pet of the Petticoats," and on April 8th Miss 
Charlotte Cushman, now the eminent tragedienne, made 
her first appearance on any stage as the Countess in the 
opera of "Marriage of Figaro," to a house of $363.75, 
Mrs. Maeder appearing as Susanna. Miss Cushman 
was born in Boston, and her first appearance in public 
was at a social concert given in this city, at the hall 
No. 1 Franklin Avenue, on the 25th of March, 1830. 
Mr. Farmer presided at the piano-forte, and Messrs- 



RECORD OF THE BOSTON STAGE. 341 

John F. Pray, Stedman, Morris, Chase, White, Coupa, 
were the instrumental performers. During Mrs. Wood's 
engagement in this city, Miss Cushman sang at one of 
her concerts. Mrs. Wood, pleased with her voice, which 
was a fine contralto, advised her to turn her attention to 
singing on the stage, and Mr. Maeder, the husband of 
Clara Fisher, who came out with the Woods, brought 
her out in the Countess. 

On the 13th of April, Miss Charlotte Watson made 
her appearance as Mary Copp, in " Charles II.," and 
as Cherubina in the " Marriage of Figaro," supported 
by Miss Cushman and Mrs. Maeder, ($865). Miss 
Watson had been " puffed " to a very extraordinary 
height in New York, but she proved to be an actress in 
miniature, and very pretty singer of simple music. Her 
engagement was quite brief. The desire to see the 
lady was considerably increased, from the fact that she 
had been the heroine of a runaway affair, with no less a 
personage than the celebrated Paganini, the first violin- 
ist in the world, who had given concerts in connection 
with Miss Watson at various places in England and 
Scotland, and finally made overtures of marriage, which 
she accepted, upon the conditions imposed, that they 
were to proceed to Paris, and there unbeknown to her 
father the marriage was to take place, Paganini stating 
it was important that this should be done in order to 
secure her a settlement at his banker's. Paganini's 
plan being matured, he, under pretence of ill health, set 
off for France, accompanied by his valet. Miss Watson, 
in accordance with previous arrangements, the following 
morning repaired to Paganini's attorney, who with his 
wife accompanied her to Boulogne, where she arrived, 



342 RECORD OF THE BOSTON 8TAGE. 

and found her — father ! who it appears anticipating 
that Paganini's motives were not honorable, had, on 
finding his daughter absent, immediately started in 
search. Miss Watson flew into the arms of her father, 
and returned to London. What Paganini's intentions 
were, was a matter of considerable comment in the beau 
monde. It is said that after her arrival in this country, 
he sent out a special messenger, who stated that he was 
authorized to assure Miss Watson of his master's honor- 
able intentions, and his readiness to espouse her, offer- 
ing at the same time to compensate Mr. Watson for the 
loss of his daughter's services, and to indemnify him for 
his own professional claims, and the expenses he would 
incur in removing with his family and accompanying 
her to Italy. Mr. Watson would not treat with the 
ambassador of the violinist, and declined all farther 
negotiation. 

Mr. Knowles played a second engagement this season 
with the support of Miss Emma Wheatley. 

Mr. A. A. Adams, who married Miss Mary Duff, 
after an absence of five years returned, and appeared at 
the Tremont. He was an actor of great merit, but his 
folly led him to indulge in dissipation, and he lost the 
position he had within his grasp. Mr. and Mrs. W. H. 
Smith took their benefit towards the close of the season, 
when Miss Charlotte Cushman sang " Trifler Forbear." 
Miss Cushman took her benefit to a house containing 
only $258.00. 

In the summer of 1834, the Federal Street was open- 
ed by Mr. Harrington, professor of ventriloquism and 
natural magic, the same gentleman who still continues 
to appear at different periods of the year in this and the 



RECORD OF THE BOSTON STAGE. 343 

surrounding cities, making short excursions, returning 
to his snug and quiet home at North Chelsea, to enjoy 
the fruits of his campaigns. He was the last, we be- 
lieve, who appeared at the old theatre, to give public 
entertainments prior to its being converted into the 
Odeon, under which name it was inaugurated on the 
5th of August, 1835, when Hon. S. A. Eliot delivered 
an address, and the pupils of the Boston Academy of 
Music furnished the music. 

The season of 1835-6 commenced on the 17th of 
August. The house had been entirely refitted, a new 
stage built, with other improvements. The artist, Sam. 
Stockwell, had exerted himself to render the interior at 
once chaste and beautiful, and so well did he succeed 
that Mr. Barry presented him with a silver pitcher, as 
a token of his appreciation of the artist's services. The 
opening plays were, " Much Ado about Nothing," and 
"My Neighbor's Wife," ($499.25). The stars this 
season were Celeste, the "Woods, Fanny Jarman, J. H. 
Wallack, John Eeeve, J. S. Ball, and Dowton. Mrs. 
Lewis also appeared and played Richard, Othello, Shy- 
loch, etc. Mr. John Reeve, the " Rascal Jack," who 
loved a joke to such an extent, that in washing them 
down his throat, he finally caused his death, appeared 
and performed a good engagement. On the night of 
the performance of " Tom and Jerry," and the " Unfin- 
ished Gentleman," there was $1064.50 in the house. 

The great feature of the season, however, was the 
appearance of the veteran Dowton, who made his first 
bow to a Boston audience on the 23d of June, 1836, 
and during his engagement played Sir Robert Bramble, 
Sir Anthony Absolute, Old Dornton in the " Road to 



344 RECOKD OF THE BOSTON STAGE. 

Ruin," Sir John Falstaff, Sir George Thunder in "Wild 
Oats," Dr. Cantwell in the "Hypocrite," Sir Peter 
Teazle, Peter Simpson in " Simpson & Co.," and Sir 
Matthew Scruggs in the " Englishman in India." 

" Old Dowton" was at this time seventy -one years 
of age. He was born in Exeter, England, in 17G5, and 
iir<t appeared at Drury Lane as Sheva, in the " Jew," 
Oct. 10, 1793. He had been manager of several the- 
atres, and, though quite advanced in years, was still a 
great aetor. His representations of choleric humanity 
were carried to the summit of perfection. A critic ob- 
served as follows of Dowton: — "The greatest living 
comedian out of the direct pale of gentility, though we 
by no means mean to insinuate that he is vulgar, is Mr. 
Dowton. He can smooth over a natural vehemence, 
indulge himself in the most delightful cordiality, and be 
carried away into the uttermost transports of rage, with 
equal felicity." Dowton had his faults on the stage, 
the most prominent being his inclination to profanity, 
which he regretted himself, but carried away in a part, 
and being a person of impulse, a loud oath frequently 
escaped his lips. Mr. Dowton did not draw very well. 
His benefit, however, was honored, and the treasurer 
received $1040.25 ; but his houses averaged below 
$250. 

The season of 1836-7 commenced on the 8th of 
August. Kilner, Mr. and Mrs. Barrett, Mr. and Mrs. 
Gilbert, were the leading actors ; Smith, Comer, John- 
son, etc., having very injudiciously been allowed to leave 
for the National Theatre. The opening play was, 
" Speed the Plough," and Mr. James Murdock, now 
the star tragedian and excellent elocutionist, made his 



RECORD OF THE BOSTON STAGE. 345 

first appearance in Boston as Henry. The public soon 
discovered the merits of this excellent actor, and he 
became at once very popular. 

The stars this season included Celeste, Finn, Mr. 
and Mrs. Watson, Mrs. Bailey, J. S. Balls, Josephine 
Clifton, Dowton, Mr. Plummer, Fanny Jarman, Ellen 
Tree, Mr. and Mrs. Keeley, Power, Hacket, Mr. and 
Mrs. Barnes, etc. 

Miss Clifton appeared on the 3d of October, 1836, 
as Bianca, in Fazio, for the first time in Boston. She 
had appeared in New York, and had made a trip across 
the water before the Bostonians had an opportunity of 
judging of her merits. She came, therefore, with a 
great reputation. Fanny Kemble, it was supposed, had 
monopolized the parts in which Miss Clifton appeared, 
but the Bostonians, while admitting the superiority of 
the former, paid homage to their countrywoman. With 
a majesty of mien, unsurpassed by any actress, she pre- 
sented the varied passions of the tragic scene in a man- 
ner which commanded respect and challenged admira- 
tion. Her Bianca many recall with great pleasure, as 
one of those theatrical portraitures which hang upon 
memory's walls, as vivid to the mental eye as when 
first beholden. Miss Clifton married Mr. Place, of 
New Orleans, and died several years ago. 

Mr. and Mrs. Keeley commenced their first Boston 
engagement on the 7th of November, in the drama of 
" Lucille, or the Story of a Heart." We need not allude 
to their merits, or to their position in the profession. 
Their light has shone in two hemispheres, and still 
burns brightly in London. 

Mr. Barry brought out this year, at a great expense, 



346 RECORD OF THE BOSTON STAGE. 

" The Massacre, or the Malay's Revenge," a spectacle, 
or rather a historical drama, from the pen of George 
Colman, the younger. Messrs. Gilbert, Hield, Murdock, 
Leman, Muzzy, Andrews, Bayne, Addams, Cflrtis, 
Sarzedas, Houpt, with Mrs. Barrett, Mrs. Hield, Miss 
A. Fisher, and Miss McBride, sustained the different 
parts. It did not prove very attractive, though its per- 
formance on Thanksgiving evening attracted a $978.25 
house. 

On the occasion of Miss Clifton's second engagement, 
she brought out, February 13, 1837, Epes Sargent's 
five act play called "The Bride of Genoa," ($772.25). 
Miss Clifton played Montaldo, a young Genevese, and 
Mrs. Richardson Laura. The play proved attractive, 
and reflected great credit not only upon Miss Clifton, 
but upon the author. This, we believe, was among the 
earliest dramatic productions of Mr. Sargent, who in 
this piece and in " Velasco," gave promise of becoming 
one of the first dramatic poets of the age. Had he con- 
tinued to pursue this branch of literature, we should not 
now be so dependent upon foreign productions. The 
" Bride of Genoa " was played four nights, and was 
pronounced by competent critics " a signal dramatic 
triumph." 

On the 20th of February, 1837, Miss Ellen Tree, 
now Mrs. Charles Kean, appeared for the first time in 
this city as Julia, in the " Hunchback." Sir Thomas 
Clifford, Mr. Barry; Master Walter, Mr. Hield; 
Modus, Murdock, (the best Modus we ever saw) ; 
Helen, Mrs. Richardson. Miss Tree's fame had pre- 
ceded her. Every admirer of histrionic art had 
awaited with impatience her arrival from New York 



KECORD OF THE BOSTON STAGE. 



347 



and Philadelphia, where her praises had been sung in 
prose and poetry. Fame, however, had done no more 
for her than justice, for she was then at the head of 
living actresses, and though at present un peu passe, as 
Mrs. Charles Kean, she remains unrivalled in many 
characters. Her acting was classical and finished. 
Her performance did not astound the audience by its 
energetic boldness, or draw forth tumultuous applause 
by any forced fervor of its passion. It was, on the con- 
trary, that style, at times seen in Mrs. Mowatt's acting, 
gentle, subdued, and polished ; not startling, but winning 
upon the judgment as the play advanced. In every 
action, in every point there was mind. Her triumphant 
success in this country, was unequalled. She delighted 
every one. John Quincy Adams was so pleased with 
her impersonations that he paid her the following com- 
pliment : — 



'"Tis Nature's -witchery attracts the smile; 
'Tis her soft sorrows that our tears beguile; 
Nature to thee her fairest gifts imparts ; 
She bids thee fascinate, to win all hearts — 
The wife, the queen, the wayward child we see, 
And fair perfection, all abide in thee." 
on, June 22nd, 1838. 



The receipts of this engagement were as follows : 



1837. 



Feb. 20th, 


Hunchback, . - . 


. $751 25 


" 21st, 


As You Like It, ... 


521 00 


" 22d, 


The Wife. .... 


. 790 00 


" 23d, 


Belle's Stratagem, . 


680 25 


" 24th, 


The Hunchback, . 


. 674 25 


" 27th, 


The Wonder, .... 


759 75 


" 28th, 


Eomeo and Juliet, . 


. 451 50 


March 1st, 


As You Like It. Eansom, 


648 25 


" 2d, 


School for Scandal. Eansom, 


. 667 25 



348 



RECORD OF THE BOSTON STAGE. 



1887. March :M, 



" cth. 


" 7th, 


" 8th, 


" Utli, 


" " 10th, 


" " 13th, 


" 14th, 


" " 15th, 


11 « 10th, 


" " 17th, 


" " 20th, 


u " 21st, 


" " 22. !, 


il • 23.1, 


" " 24th, 


" 27th. 



Provoked Husband, sod Perfection, 

(Benefit,) 730 75 

Wrecker's Daughter, . . 794 75 
Much Ado About Nothing, and Per- 
fection, G47 75 

Wrecker's Daughter, . . 594 00 

The Wife, and Youthful Queen, . 500 75 

The Wonder. Ransom, . . 528 00 

Twelfth Night. Youthful Queen, 05G 25 

The Wife. Youthful Queen, . 612 50 

Ion, 722 50 

Ion, 088 25 

Honey Moon. A Roland for an Oliver, 

(Benefit,) .... 858 60 

Ion, . ... 506 50 

Twelfth Night. Youthful Queen, 601 25 

Belle's Stratagem. Ransom, . 627 50 

1 1 Husband, Perfection, 487 50 

Honey Moon. Ransom, . . 754 25 
Hunchback. Youthful Queen, 

(Benefit,) .... 1003 00 



" Albimonti," a play by Mr. Charles Hay ward, was 
brought out this season. Master William Ilield, on the 
occasion of his mother's benefit, made his debut as 
Young Norval, (April 10th, 1837,) and Mr. Joseph A. 
Ileman made his debut on the occasion of Mr. Leman's 
benefit. Mr. Leman played Sir Giles Overreach for the 
first time. Mr. Leman was, in 1852-3, a member of 
the stock company at the National Theatre. After the 
Tremont had declined, Mr. Leman visited the western 
part of the country, where he remained several years. 
He is a sure and steady actor, accomplished as a poet, 
and highly valued in private life. 

Mrs. Watson, Mr. Bailey, and Mr. Plummer ap- 
peared in the opera of the "Pirate Boy," on the 17th 
of April, 1837. They gave a popularity to one song 



RECORD OF THE BOSTON STAGE. 349 

at least during their brief engagement — which for 
months afterwards was sung by every young lady, who 
possessed any vocal accomplishment, hummed over by 
every amateur, and whistled in every alley. Go where 
you would it was " Lightly may the boat row," and 
frequently during their engagement this trio were 
called out six times to repeat this popular piece. In 
the months of May and June, in 1837, Miss Charlotte 
Cushman gave the earliest taste of that dramatic spirit, 
which she has since cultivated to so much advantage. 
On the 30th of May she appeared as Lady Macbeth, to 
Barry's Macbeth, and astonished every one. She fol- 
lowed up her first triumph by playing Portia to C. H. 
Eaton's ShylocJc, and also performed Fortunato Falconi, 
Elvira Morgianna, and announced thus early her pre- 
dilections for male parts by a performance of Henry, 
in " Speed the Plough." Although she had given up, 
by her assumption of these, all hopes of attaining em- 
inence in the lyric drama, she sung " Hail Columbia " 
on Murdock's benefit night, and was rapturously ap- 
plauded. 

Thus closed the third season of Mr. Barry's manage- 
ment. 



350 RECORD OF THE BOSTON STAGE. 



CHAPTER XXIV. 

Continuation of Mr. Barry's Management. — Bianca Yiscounti. — 
Forrest's Great Engagement. — Velasco. — Vandenhoff. — Mrs. 
Shaw. — Miss Hildreth. — &Gm Mi»<>uri. — Her Romantic His- 
tory. — Lady of Lyons. — Mr. Barry's Last Season. — Edward 
Shales. — His Dramatic Career. — A Review of Mr. Barry's Man- 
agement. 

TnE next season of Mr. Barry's management, that 
of 1837-8, commenced on the 7th of August. Mr. 
and Mrs. Barrett were engaged at the opening for a 
few weeks, having then just returned from Europe, 
where Mr. Barrett, we believe, performed, but not with 
any marked success. The stars this year were Yankee 
Hill, Booth, Mr. Lathane, Miss Melton, Ellen Tree, 
Miss Clifton, Forrest, Vandenhoff, Finn, Mrs. Shaw, 
Madame Augusta, Mr. Hamblin, Miss Missouri, Rice, 
Murdock, Johnson, Huntonville, and Davenport, now 
starring it in England, were members of the stock com- 
pany. Miss Clifton brought out (September 29th) 
Willis's play of " Bianca Viscounti," ($593.50,) which 
was well received. On the 16th of October, 1837, Mr. 
Forrest appeared as Othello, the first appearance on his 
return from England, after an absence of four years. 
Mr. Forrest played twenty nights, and the receipts were 
$11,400. His two benefits yielded him $1,725. 

Miss Tree followed Forrest, and on the 20th of 
November, brought out, for the first time, Mr. Sargent's 
tragedy of " Velasco." Mr. Barry was liberal in 
getting it up, and the cast was a strong one : — Velasco, 



RECORD OF THE BOSTON STAGE. 351 

Murdoch ; Julio, Barry ; Izidora, Miss Tree ; Carlos, 
Miss McBride. The piece was well received ($431.50,) 
but is now seldom performed. Miss Davenport revived 
it in late years, but it did not prove attractive, on 
account of the miserable manner in which it was put 
on the stage. 

Mrs. Barry, wife of the manager, made her first ap- 
pearance before a Boston audience on the 1st of De- 
cember, 1837, as Mrs. Rachett, in " Belle's Stratagem," 
to Ellen Tree's Letitia Hardy. On the 4th of Decem- 
ber, Mr. Vandenhoff made his first appearance in this 
city as Coriolanus, and during his engagement he 
played Macbeth, Goto, Brutus, Virginius, Othello, and 
Hamlet. Mrs. Barry played the leading female parts, 
Mr. Gilbert and Mr. Murdoch performing second. 
Words were wanting to express the admiration of the 
critics of this gentleman's transcendent talents. Many 
who remembered Cooke, pronounced Vandenhoff his 
superior, and his Goto — a part in which even Garrick 
failed — and his Hamlet, are remembered by many as 
perfect master-pieces. Though appreciated by the few 
his engagement was not what it should have been, what 
it would be were he again to cross the Atlantic, though 
in a subsequent visit he did very well. The only excuse 
we can offer .was the financial difficulties of the coun- 
try, which engrossed public attention. Mrs. Shaw's 
(Mrs. Hamblin) first appearance in this city was as 
Julia, in the " Hunchback," on the 28th of January, 
1838. This lady, in sprightly comedy, has been un- 
equalled. Her performance, of late years, has lost that 
vivacity and abandon which were the chief charms of 
her style. Her engagement was quite brief, during 



352 



RECORD OF THE BOSTON STAGE. 



which, ] she played Hamlet, and Md'llc 

Augusta and her corps de ballet followed. "La Baya- 
dere," an operatic ballet, was produced on tin* 29th of 
January. 1838, and was put on the stage in the most 
admirable style. Mr. Homcastle, the first tenor singer 
ared, and the leading characters were sustained by 
Md'lle Augusta. Mi-s Kerr, and .Madame Otto. Many 
recollect undoubtedly the Bcenery of this piece, which 
i ded, especially the closing scene, any tiling ever 
seen in this city, doing infinite credit to the skill and 
genius of Mr. Stockwell. The piece had a good run. 
and crowds rushed to see the " Indian Paradise " to 
which Zoleo ascended. Among the novelties toil sea- 
son, was tli" debut of Miss Ilildreth, daughter of Dr. 
Ilildreth. of Dracut, who appeared Marianna in 'the 
"Wife," Bianco, Lady Teazle, etc. She played oc- 
casionally for one or two seasons, and then retired from 
the profession. 

On the 9th of May, 1838, Ernest Maltravers, drama- 
tized by Miss Louisa II. Medina, and then first pre- 
sented, introduced to a Boston audience Miss Missouri 
in the character of Alice. Mr. Hamblin, of whom the 
young lady was a protege, appearing after the absence 
of six years as Richard Darvil to a house containing 
S457.7.3. Miss Missouri performed only .ten nights in 
this city, and for one so young gave great satisfaction. 
This was her first and only engagement in Boston. 
She was by birth the sister of Josephine Clifton. She 
received her education at Mrs. Willard's celebrated 
Seminary at Troy, and two years prior to her first ap- 
pearance in New York, received tuition from Mr. Horn 
the vocalist, Mr. Trust the pianist, Mr. Jones of the 



RECORD OF THE BOSTON STAGE. 353 

Park Theatre, Dr. Barker elocutionist, and Mr. Ham- 
blin. She was quite young, scarcely seventeen, just 
ripening into womanhood, with a rounded, elegant 
figure, a complexion exquisitely fair, and a pair of 
most radiant eyes. To these personal attractions she 
united a mind well trained and a rare intellect, and 
gave every promise of future eminence in her profes- 
sion. The story of her life is an affecting narration, 
bordering strongly upon romance. Early in life she 
had a passionate attachment to the stage, and after 
completing her education placed herself under the tui- 
tion of Mr. Hamblin, becoming a member of his 
family. This step was taken contrary to the wishes of 
her mother, a woman of doubtful respectability, who 
from some cause or other evinced a determination to 
prevent her making her appearance. Her brother, a 
young man by the name of Miller, espoused the 
mother's side, and published in a paper called the 
Polyanthus, edited by G. W. Dixon, a most violent 
attack on Mr. Hamblin, charging him with abducting 
the girl, and accusing him of the very worst intentions 
towards her. On reading this article Miss Missouri 
swooned ; she had borne the persecutions of a set of 
villains, but this blow, revealing as it did to the world 
who she was, and whence she sprung, wounded her 
deeply. A feminine sensibility of soul, a refinement 
of mind, and a nice sense of decorum, with a corres- 
ponding delicacy of constitution, ever awakened the 
sympathies and pity of all who knew her. She was 
mortified beyond measure, and her brain reeled beneath 
her load of sorrow. She saw around her a selfish 
circle of persons contesting for the control of her 
23 



■'>■> I RECORD OF TIIE BOSTON STAGE. 

talents, and the emoluments from their exercise — and 
enable to stem the tide which set against her, ihe 
yielded and died of inllammation of the brain. A 
ithousaud rumors wen current. A thorough post 
iem examination, by tlie most eminent physicians, 
bore record to the unsullied purity of a fair girl. Her 
death wai universally regretted. The parties impli- 
cated were ■nested — Miller for threatening Ilamhlin's 
life, and Dixon for some other cause — but a few 
months only passed by, and this sad episode in every- 
day life was forgotten. 

Forrest played an engagement in May, and on the 
24th the play of the u Lady of Lyons," since so popular, 
wag first produced at the Tremont to a house containing 
only $210. This play, however, had been produced on 
the L6th of May at the National Theatre, the first time 
in Boston. The cast at the Tremont was as follows : 
Claude, Forrest ; Col. Damas, Gilbert ; Beauseant, 
Cline ; Glavis, Muzzy ; 3Ions. Descltappelles, Daven- 
port ; Gaspar, Cunningham; Pauline, Mrs. Barrett; 
Widow Melnotte, Mrs. Muzzy. At the National, the 
cast was, Claude, George Jones ; Beauseant, Ayling ; 
Glavis, J. S. Jones ; Col. Damas, Spear ; Gaspar, 
Saunders ; Mons. Descltappelles, Marshall ; Pauline, 
Mrs. Geo. Jones ; Madame Descltappelles, Mrs. Pelby ; 
Janet, Mrs. Parker. This piece has proved one of the 
most popular ever written. The ladies are peculiarly 
partial to it, and with a decent cast always draws a good 
house. Mr. Murdoch left the theatre in the month of 
May, when he took a farewell benefit. His departure 
was regretted by the public. 

The sixth and last season of Mr. Barry's management 




RECORD OF THE BOSTON STAGE. 355 

commenced on the 27th of August, 1838, with the 
"School for Scandal," ($569.75). Miss Rock, Mr. 
Finn, and Mr. Kilner, were engaged for a limited 
number of nights. The stock company included Comer, 
Barry, Gilbert, "Whiting, Muzzy, Benson, Adams, Mrs. 
Gilbert, Mrs. Barry, Miss A. Fisher, Mrs. Smith, etc., 
and Miss Fanny Jones as principal danseuse. 

" Masaniello " was revived, the leading parts sus- 
tained by Person, Brough, Morgan, and Mrs. Barry- 
more. The Bedouin Arabs astonished the public with 
their prodigious leaps and evolutions, trials of strength, 
pyramids of men, etc. The leading stars were Forrest, 
Mdlle. Augusta, Wallack, Miss Shirreff, and Miss 
Seguin, Hacket, the Woods, Celeste, Mr. Bailey, Mr. 
and Mrs. Sloman, etc. etc. Tom Kilner, in October, 
'38, left the theatre, announcing his intention to settle 
out west, where he is still living. 

The season of 1838-9 was almost devoid of interest. 
The fortunes of the drama were so desperate, that the 
curtains went up some nights to less than $90 in the 
house. Mr. Barry, under this state of affairs, allowed 
the No-haired Horse to appear, and also permitted one 
Shales, an amateur, to astonish the modern Athenians 
with his impersonation of Richard III. With these 
exceptions, Mr. Barry never deserted the legitimate 
province of the stage, but such trivial deviations in so 
long a career should be passed over lightly. 

"We should not allow the name of Edward Shales to 
pass without some brief tribute. His story is a brief 
one. Possessing a love of the drama, he conceived an 
idea that he was amply qualified to represent the lead- 
ing heroes of tragedy, with fine effect ; and our stage- 



356 RECORD OF THE BOSTON STAGE. 

struck hero soon made known his aspirations, which 
were ably seconded by a party of the maddest wags that 
ever resided in Boston at one time. They encouraged 
him in the idea that nature had done every tiling for 
him, and he gave his friends a touch of his quality in 
the loft of a stable. Never did a tyro receive such 
flattering encomiums as he received from these critics, 
who advised him, by all means, to perfect himself in 
Richard J 1 1., and astonish Boston by a display of talent. 
He at once consented, and during the time of prepara- 
tion, sundry oyster and champaigne supper- were par- 
taken of at his expense. The regular drama being on 
the decline, Mr. Barry consented, and Shales appeared. 
We need not say that the hit was great. A benefit was 
announced for .Mr. Shales; Jo take place at the Tremont 
on the 11th of June, 1839, when Shales was to appear 
in two acts of " Richard III.' 1 At an early hour, the 
house was densely packed, by all the lovers of fun in 
Boston, who had been privately notified that a rich 
dramatic treat might be expected, the ladies with be- 
coming good taste absenting themselves, save one or 
two, who were not to be excluded from the entertain- 
ment. Mr. Shales appeared, and the most rapturous 
applause burst forth from every part of the house, and 
for many moments he was occupied in making due 
acknowledgments to the audience. He soon com- 
menced his part, and never before had Shakspeare had 
such an interpreter. His pronunciation was equally 
faulty with his conception, and his carriage still worse. 
A few missiles were thrown upon the stage at the com- 
mencement, and Shales began to have an idea that he 
had put his foot into it, but he resolved to go on. Pro- 



BECOED OF THE BOSTON STAGE. 357 

eeeding a little farther, lie was saluted by a thin paper 
bag of flour, which transmogrified Richard into a 
miller, and the curtain went down till the actor had 
time to cleanse himself. Other acts of disorder were 
committed ; and the friends so far forgot themselves, as 
to throw small copper coin, while a lady was on the 
stage. The manager at once came forward, and offered 
a reward of fifty dollars for the discovery of the person, 
intimating that whatever they might be pleased to do 
while Mr. Shales was on the stage, they must respect 
the presence of a lady. This they strictly obeyed, and 
Lady Anne was held sacred. The act in which Shales 
figured was finally drawing to a close, when an immense 
wreath, composed of cabbage leaves and other products 
of the kitchen garden, was thrown to him, amid the 
most tremendous cheering. He received it with all due 
courtesy, and the curtain went down, for the tenth time 
during the evening. Loud calls were now made for 
* Shales ! " " Shales ! " « Shales ! " and he finally ap- 
peared, when some of his friends, most fantastically 
dressed, rose in the proscenium box, and offered for his 
acceptance a service of plate — made of tin ! He ap- 
proached, and a few remarks were made ; he accepted 
the waiter, and was bearing it off in triumph, when a 
perfect tornado of flour balls reached him, not to men- 
tion a watery stream from a syringe. He held fast 
hold of his present, however, and made his exit. The 
service of plate disappeared that night in a most mys- 
terious manner. Mr. Shales was kind enough to allow 
it to be placed on the table of the greenroom, from 
whence it was conveyed to the paint room. Here it 
was found by another person, who had it put in a box, 



358 RECORD OF THE BOSTON STAGE. 

directed and sent it to the landlord of one of the leading 
hotels in a suburban town, with the intention of notify- 
ing a few choice spirits to there convene and enjoy a 
social hour; but the landlord took umbrage at the jdate, 
and when he next visited Boston, made a circuitous 
route over Cambridge bridge, and consigned the box 
and plate to the water. The wreath was sent to New 
York, where it w;i< much admired. The scribbler 
the day alluded to this affair in various ways. One, 
through the columns of the Post) wrote: — 

•• And know yon not yonr enemy, 
Your greatest foe in town? 
"Fw:i> William Pelby who <li'l send 
Th<- knave- to put yon down. 

• Y. ii spoil his houses when you play. 

All his attraction fails, 
When on the Tremont bills appears 

Richard, by Mr. Shales." 

" Straws," of the N. O. Picayune, had bis verses, one 
of which was as follows : — 

" Great Shales! ve does n't touch thy hump, 

Nor dare ve reach thy crown ; 
Ve stops short at the eye-brows, quite 

Dumfounded by thy frown ! 
Vainly shall rivals claim the wreath — 

Thy genius doth secure it; — 
The test of tragic genius is, 

That muscles can't endure it ! " 

Mr. Shales, we must do him the credit to say, attracted 
the largest house of the season, ($1,129.50,) and bore 
the joke with great good humor, concluding, "let him 



RECORD OF THE BOSTON STAGE. 359 

laugh who wins ; " and after all, he possessed more 
shrewdness than he had credit for ; 

" His after fate untold in Thespian strain, 
His Richard ne' er astonished a crowded house again." 

"Nicholas Nickleby" was brought out, and Squeers 
(John Gilbert) and his better half as Mrs. Squeers, 
dealt out the brimstone and treacle to about forty boys 
to the admiration of crowded houses. Smith as Nicholas 
shouted " Wretch ! " and Muzzy as Mantalini threatened 
to break his "dimnition head," while Miss Rock as 
Smike picked up the crumbs with becoming gravity. 
The piece proved successful. It was the delight of the 
juveniles. Another piece called " Trudge, Fudge, and 
Drudge," was brought out on the occasion of Mr. Charles 
Craft's benefit, the popular box-office keeper, who for 
many years was chief of this department. On that 
occasion, Mr. Crafts appeared on the stage, — his first, 
and we believe his last appearance on the boards. Mr. 
Barry brought the season to a close in June, and ter- 
minated his labors after six years' campaign as manager 
of the Tremont Theatre. 

If the reader will cast his eye back and glance at the 
array of talent brought out under Mr. Barry's manage- 
ment, and if he will recall the various productions, the 
novelty and necessary expenses incurred to make the 
theatre what it should be, he will certainly admit that 
Mr. Barry deserved a rich reward. He had exerted 
himself to make the drama attractive, and to lift it to a. 
moral standard. He studied to meet the approbation 
of the respectable classes of the community, and he 
toiled hard to keep himself a " man of his word." But 
he result of all this was most disastrous to Mr. Barry,, 



3G0 KIXORD OF THE BOSTON STAei. 

for his loss during the six years exceeded tinntij-sir 
thousand dollars. His most fortunate season, that of 
1834-5, produced the unprecedented sum for Boston of 
$94,000 ; the expenses amounted to $97,000. During 
his lease, the country passed through scenes of pecuniary 
disasters almost unparalleled ; vet had the building held 
that number of persons which every first class tlieatre 
must hold to pay the necessary expenses, we doubt not 
lie would have fought the fight with e and come 

out of the struggle with full pockets. Tin.- theatre} un- 
fortunately, was deficient in accommodation. The first 
and second tier of boxes had seats for 2G 1 persons only, 
and the average receipts of one of the greatest engage- 
ments, that of the Woods in " La Sonnambula," amount- 
ed to $675 per night, while the expenses amounted to 
s7<'i». In New York, the Woods averaged for sixteen 
nights, with the same opera, $1,467, but the Park held 
411 persons in the lower tier of boxes, the Tremont 
only 132. The rent paid by Mr. Barry was $9,600 a 
year for the whole of the Tremont Tlieatre, including 
the bars, which, owing to the action of the city author- 
ities during his engagement, so limited the use of the 
bars, that the rent fell in his hands from $2,500 to 
$1000. The directors in their report of 1839, made to 
the stockholders, admitted that the corporation netted 
50 per cent, more than had been realized from any 
preceding lessee, stating, "Mr. Barry is the only tenant 
we have yet had who has both satisfied the public, and 
paid a fair remunerating rent to the proprietors, and 
the fact that the theatrical business in Boston for the 
last two or three years has been, and still is, in a state 
of extraordinary depression." 



RECORD OF THE BOSTON STAGE. 361 

At this time Mr. Barry was somewhat in arrears for 
rent, and notwithstanding this favorable report, and the 
fact that he had paid $16,000 in repairs, gas fittings, 
etc., they demanded and obtained the full payment of 
the bond. His books, wardrobe, every thing came under 
the auctioneer's hammer, and Mr. Barry left Boston as 
poor as Lazarus. 

Such a termination to his many trials was a hard 
recompense for his six years of toil. He had not only 
been obliged to contend against the crises in the money 
market, but Mr. Pelby proved an inveterate enemy 
through life to the Tremont Theatre, and sought its 
overthrow by every means in his power, as a retaliation 
for the treatment he had experienced from the first 
board of directors. No star came to this country of any 
note after Mr. Peiby opened the Warren, but received 
at once liberal offers to appear at his theatre. Mr. 
Barry was of course in the field, and to obtain them 
was obliged to outbid Mr. Pelby's offers, which he never 
wished to be accepted. We attach no blame to the 
latter gentleman for this piece of diplomacy, and merely 
mention it to give an idea of a not unimportant agent 
in the decline of the Tremont. This fact, coupled with 
the more important one that the theatre was too small, 
explains the question sometimes asked, Why did Boston 
not sustain the Tremont Theatre ? 



KECOIJD OF Till: BOSTON STAGK. 



CHAPTER XXV. 

The Trcmont ander -T. S. Jones. — Season '89-40. — The Company. — 
Mr. Banger. — Charles Kean. — Death of Mr. Stimpsoa. — Mr-. 
Fite william. — Jack Fal-taff, by George Andrews.— -The Finn and 
Eberle Benefit — Attempt to reduce tin- Pri wer. 

— Fanny Elssler. — The Woods. — John Braham, efc 

APTEB the departure of Mr. Barry, the proprietors 
of tin* theatre hud numerous applications for the lease, 
but our townsman, J. S. Jones, Esq., was deemed the 
best qualified for the post, and it wafl rented to him for 
four year-, with tin* right to terminate in two or three 
years. The rent was $8000 the first year, an 
the subsequent years. 

The season of 1839-40, under Mr. Jones, commenced 
on the 2d of September, with the "Poor Gentleman," 
and the farce of the " Little Adopted." Mr. Gilbert, 
the Btage-manager, delivered an opening address, in the 
course of which the following allusion was made to Mr. 
Barry : — 

•■ Ay! look around — above — it is the same 
Old Shakspeare*8 temple, a- when erst you came. 
There you have often sat. and here have seen 
The buffoon peasant and the tragic queen. 
Here have you heard the lover plead his cause, 
And seen the hero fight for liberty and law-. 
'T is not the same ! for one has left the shrine 
Who loved with flowers its hundred gates to 'twine, 
He who directed, he who led our band, 
Has gone to labor in a sister land. 
Our hearts are with him for his good success ; 
Here 's to his health, his home, his happiness." 



RECORD OF THE BOSTON STAGE. 363 

The company included Mr. and Mrs. Gilbert, Mr. 
and Mrs. W. H. Smith, Mr. and Mrs. Muzzy, Mr. and 
Mrs. Ay ling, Mrs. Sheridan, Mrs. Anderson, Miss 
Boquet, Fanny Jones, Messrs. George H. Andrews, 
J. F. Williamson, D. Whiting, A. W. Fenno, D. A. 
Sarzedas, W. H. Curtis, J. H. Ring. Leader of the 
orchestra, Holloway ; James Kendall, clarionet ; Ed- 
ward Kendall, bugle ; Geer, Warren, Woodhouse, etc. 

The theatre was decorated throughout, and a splendid 
drop act was painted by W. M. Bayne, who has of late 
years acquired a fortune, by his Panorama of a Voyage 
to Europe. 

Mrs. Anderson made a hit this season as Jane Lomax, 
and ably supported Mr. Forrest during his engagement, 
performing Julie de Mortimar to Mr. F.'s Richelieu, 
with an effect since unequalled. 

On the 4th of November, Mr. Ranger appeared for 
the first time as Marquis St. Croix, in the comedy 
written by himself, entitled the " Romantic Widow." 
Many will remember this gentleman for his excellent 
impersonation of the French gentlemen, in which he 
excelled. This gentleman was more successful in New 
York than here. He belonged to the class of actors 
whose peculiarities may be summed up in the single 
word — beautiful. His every movement was symmetry 
and grace ; but, notwithstanding these qualifications, he 
played to poor houses. 

Charles Kean followed, and attracted good houses. 
His Hamlet was pronounced excellent throughout ; his 
King Lear, beautiful and almost unrivalled ; but as the 
" crook-backed tyrant," he was not so successful. Mr. 
Kean also appeared as Claude Melnotte, and performed 



364 RECOBD or Tin: BOSTON STAGE. 

THzarrc to Mrs. Anderson's Elvira on Thanksgiving 
evening, when Mr. Stimpson, the captain of the super- 
numeraries, was killed by the curtain weight falling 
upon him and fracturing his skull. 

On the 10th of December, Mrs. Fitzwilliam, the 
same who still delights a London audience, appeared. 
The play of "Widow Wiggins," in which she sustained 
six characters, was very attractive. Her appearance 
on the boards, at a time when there was a depression 
in business, and consequently many long faces, was 
defined a public benefit, for her faultless acting eh 
away the clouds of despondency, and smoothed the 
furrows of care. Her vocal as well as histrionic powers 
were, at that tine, exceedingly versatile, and her 
"Music Mad" called forth repeated rounds of applause. 
"Foreign and Native Graces" was one of Mrs. Fitz- 
williamsV most popular pieces ; and this lady, although 
not remarkable for her beauty, won, by force of real 
talent, the suffrages of all theatre-goers. She played 
Rosalind to W. II. Smith's Orlando, and Frederick's 
Jacques, on the night of her benefit, which was honored 
by a full house. 

After the departure of this lady, a series of stock 
benefits took place. Mr. George II. Andrews appeared 
as Sir John Falstaff. A wicked critic was bold enough 
to remark, that " he played Jack Falstaff to kill ; that 
is, he killed off Falstaff to begin with — murdered him 
absolutely — and then played Jack Andrews very well 
during the rest of the performance;" a very just 
opinion of this effort. Mrs. Anderson's benefit was a 
good one. She was aided by Ranger, and her father, 
William Pelby, appeared in the 5th act of " Brutus," 



RECORD OF THE BOSTON STAGE. 365 

his first appearance on the Tremont boards for eight 
years. 

On the 27th of January, 1840, a benefit was given at 
the Tremont to the widow and children of Henry J. 
Finn, whose recent loss in the Lexington (Jan. 13, 
1840) then excited the greatest sympathy. A meeting 
of gentlemen was holden at the Exchange Coffee House, 
at which Josiah Bradlee, Esq., presided, and William 
Hayden was secretary, when a committee was appointed 
to superintend the benefit. Mr. -and Mrs. Seguin, Mr. 
and Mrs. Wallack, Mr. Knight the vocalist, Mr. Ranger, 
and the stock company, volunteered their services, and 
the price was raised to $2 boxes, and $1 pit and second 
circle. The result was a house containing $1175. A 
benefit was also given to Mrs. Eberle, whose husband, 
an actor, was also lost on board the Lexington, which 
attracted at the regular prices $1116. These benefits 
were honorable alike to the brother artists who so 
generously contributed their services, and to the finer 
feelings and sympathies that cluster around the heart. 
The public responded to the calls, and the truckmen 
turned out strong. At the Eberle benefit, a uniform 
band of marines from the Navy Yard came over. The 
families, after deducting a few expenses, received about 
$900 each. 

Mr. Ranger's benefit was during this engagement 
fashionably attended. On that occasion a medal of 
splendid embossed gold, the free gift of a large number 
of his friends and admirers, was presented to him. It 
bore a suitable inscription, and Mr. Ranger in accept- 
ing it responded in a most courteous and appropriate 
manner. 



3CG RECOBD OF THE UO.sTON' STA< 

On the 21st of February, Mr. .1 >s finding it up hill 

work, closed the house, which he had a right to do hy a 
restriction in the lease. He had done all thai could be 
expected of him to sustain this popular play-house j hut 

the public were not disposed to pay Si per ticket, and, 

aware of this fact, the manager desired to reduce the 

prices, but the proprietors of the theatre would not 

listen to a proposal, whieh might, if adopted when first 

I, have tended to contribute to it- popularity, 

and preserved it even to this day as a dramatic temple. 

It is true, however, that the >eason of 1839—40 wai a 
most disastrous one to theatrical entertainments through- 
oat the country, for in New York and Philadelphia they 
were equally unsuccessful. 

M p. Jones reopened the theatre on the 30th of March. 
Forrest, Mr. and Mrs. II. AVallack, and Ilacket, ap- 
peared. On the 11th of May, 1840, Signer Ilervio 
Nano opened as the u Gnome King." 

The theatre was subsequently closed a few days, to 
afford time for the preparation of F. S. Hill's " Six 
Degrees of Crime," which was partially successful, and 
finally closed on the 4th of July. 

The loss of the season was considerahle, and the 
receipts for thirty-seven weeks were little rising of 
$48,000. Among other stars not particularized above, 
who appeared this season, were Dan Marble, Finn, 
whose last performance in this city was Octoher 4, 
1839, as Logic and Mawworm, Miss Hildreth, Celeste, 
Murdoch, Lecompte, and Ballet, and L. F. Tasistro, 
formerly editor of the London Athenceum. 

The season of 1840-1 was commenced by Mr. Jones 
on the 24th of August. The plays were, " John Bull," 



» 

RECORD OF THE BOSTON STAGE. 367 

in which Tyrone Power, the eminent delineator of Irish 
character, played Dennis Brulgruddery, and the " Irish 
Lion," the leading part also sustained by Mr. Power, 
who had then just arrived from Liverpool, and was 
induced to play three nights prior to his New York 
engagement. The name of Power will forever be 
associated with the fate of the steamship President, in 
which he was a passenger. He was born in the county 
of Waterford, Ireland, on the 2d of November, 1797. 
Power's account of hfe travels in America is still 
extant. 

To return to the record of local affairs. The company 
consisted of Mr. and Mrs. Gilbert, Mr. and Mrs. Cres- 
wick, Mr. and Mrs. Muzzy, Mr. and Mrs. Ayling, Mrs. 
W. H. Smith, Mrs. H. Cramer, Fanny Jones, G. H. 
Andrews, S. D. Johnson, Hill, Curtis, Spear, Ping, etc. 
Scenic artist, Bartholomew. Dan Marble appeared this 
season, and pleased those partial to his peculiar style. 
He was good in his line of Yankee parts, and has had 
no equal on the boards since his death. 

Fanny Elssler, the first theatrical celebrity who came 
from France to salute the United States, made her first 
appearance in Boston on the evening of the 7th of Sep- 
tember, 1840. Her great reputation as a danseuse, 
surpassed only by Taglioni, and by many preferred 
even to her, had preceded her arrival, and her success 
in New York had so' bewildered the editors and critics, 
that the language was deficient in words to express 
their admiration. " All that we had imagined of 
poetry," said one, " of music, of sculpture, of refinement, 
elegance, and beauty, were realized. The colors of the 
rainbow, the delicacy of the flowers, the purity of the 



B I- CORD OF TIIK BOSTON BTA.I 

cryital waters, have nothing more radiant, exquisite, or 
transparent, than the gossamer Boatings of this glorious 
creature. For the first lime in our lives we felt what 
the poet meant by tin; 'airy gems,' the ' spoken flowi 
and the ' oracular songs/ of his enraptured fancy." Such 
language, as we read it, long after the "divine Funny" 
has disappeared from public notice, Btril the 

ravings of Borne crack-brained fop, but at that time so 
enraptured were the public, that it fell upon the ea 
the wry moderate sentiments of a wry cool admirer. 
Fanny Elssler carried America by her exquisite gi 
even as Jenny Lind conquered all hearts by her beauti- 
ful voice; and as Bhe may be considered the best 
danseu8e we have ever seen in this country, we quote 
the following very accurate description of her, from the 
" B< auties of the Opera and Ballet : " — k * La Fani 

tall, beautifully formed, with limbs that strongly resem- 
ble those of the hunting Diana, combining strength with 

the most delicate and graceful Style ; her .-mail and 
classically Bhaped head is placed on her .-boulders in a 

singularly elegant manner; the pure fairness of her 
.skin requires no artificial whiteness, while her i 
beam with a species of playful malice, well suited to 
the half-ironical expression at times visible in the 
corners of her finely-curved lips ; her rich, glossy hair, 
of bright chesnut hue, is usually braided over a forehead 
formed to wear, with equal grace and dignity, the 
diadem of a queen, or the floral wreath of a nymph. 

The announcement of her advent was hailed with 
joy, and our usually staid citizens indulged in various 
bursts of enthusiasm, and many actually walked before 
the Tremont House for hours, in hopes that the divinity 



RECORD OF THE BOSTON STAGE. 369 

would show herself at the window. Twenty-one boxes 
were sold on the Saturday previous, and on the morning 
of Monday, the remainder were sold at auction. The 
first week of her appearance was a most notable one, 
aside from her great attraction, assisted as she was by 
Mons. Sylvan. On the 10th of September, the great 
Bunker Hill Convention was holden, and a fair was 
held by the ladies to complete the Bunker Hill Monu- 
ment. It was an exciting week, but " Nathalie " and 
" La Sylphide " were not lost amidst these political and 
patriotic scenes. It was " Elssler " on every side. She 
was dreamed of, talked of, and idolized ; and some wag 
having circulated a report that "Fanny " would take an 
airing in her barouche, quite a gathering took place on 
Tremont street. Boston was not alone in this ovation, 
for the ladies from Boston to Philadelphia, all wore 
Elssler cuffs, made of velvet with bright buttons. In 
every store window articles were displayed flavoring of 
the mania. Elssler boot-jacks, Elssler bread, etc. etc., 
were to be seen, showing how violent was the attack of 
Fanny elssler maniaphobia. It was during this visit 
that Fanny contributed her share of a benefit to com- 
pleting Bunker Hill Monument, which amounted to 
$569.50. Boston was somewhat laughed at for accept- 
ing this gift, and the scribblers had their jokes ; but 
after all it was Boston money. 

Fanny's last appearance at this engagement was on 
the 2d of October, to a crowded house. She was called 
out; and being led forward by Mons. Sylvan, she 
pressed her hand upon her heart, and said : 

" Ladies and Gentlemen : This is the first time I have 
appeared before you with pain. Am I to leave you 
24 



370 



RECORD OF THE BOSTON STAGE. 



forever ? No, it shall not be. I will not say adieu, but 
hope to see you again." 

The once angelic Fanny Elssler is still living, accord- 
ing to late accounts, a sturdy matron, whose present 
embonpoint would never indicate her former grace and 
loveliness. The Chevalier Wyckoff, who figured with 
this lady while in this country, has recently been im- 
prisoned in Genoa, for attempting to abduct a Miss 
Gamble. He is now at liberty, and we could forgive 
him his sins, were he to bring another Elssler to this 
•country. 

The receipts of this engagement were very great. 
Mr. Jones paid Fanny Elssler $500 per night, and the 
following was the result. Fanny did not dance on the 
memorable 10th of September. Mr. Creswick, now in 
London, appeared in the "Sea Captain," and a better 
melo-dramatic actor we have never seen. The receipts 
below include the premiums obtained at auction by 
the sale of tickets, Messrs. Coolidge and Haskell, 
auctioneers : — 



1840. Sept. 



Oct. 



7, 
9, 
11, 
14, 
16, 
18, 

21, 
23, 
25, 
28, 
29, 
1, 
2, 



$1242 

1726 

1537 

1184 25 

1118 
959 
909 
816 75 

1160 75 
620 75 
624 75 
969 50 

1391 75 



Mr. Forrest succeeded Elssler, and was followed by 



RECORD OF THE BOSTON STAGE. 371 

Mr. Vandenhoff, the elder, and Miss Vandenhoff, their 
second appearance in Boston. Mr. V.'s Hamlet is 
remembered by our critics as the Hamlet of the stage. 
Miss Josephine Clifton, Mr. Buckstone, now in London, 
appeared. Mr. and Mrs. Wood, and Mr. Brough, ap- 
peared on the 7th of December in " La Sonnambula," 
and during their engagement, full, fashionable, and 
musical audiences graced the boxes. On the 11th of 
January, 1841, John Braham made his first appearance 
in a Boston theatre at the Tremont, in the character of 
Henry Bertram, (Guy Mannering,) without, however, 
any vocalist to sustain him, the only show of opera being 
his own unaided efforts. He subsequently appeared in 
Count Belino, (the Devil's Bridge,) and the operetta 
* The Cabinet.' 7 For his benefit and farewell to a 
Boston stage, he took the second and third acts of 
" Massaniello " and " The Waterman." 

Having previously appeared in concerts under the 
patronage of the Handel and Haydn Society, there was 
slight curiosity to hear the veteran English tenor in 
opera travestie, and the experiment of substituting one 
singer, however brilliant, for an opera company, met a 
cold reception from the public accustomed to "the 
Woods " and the Seguine troupe. Mr. Braham was, 
unfortunately for his stage popularity, no actor, but on 
the contrary marred every character by excessive awk- 
wardness. He never pretended to embody the graceful 
lover or hero for which the bills announced him. Added 
to these drawbacks, the want of a good stage presence 
destroyed all the illusions of the scene, and brought his 
audience back to a cold reality of John Braham, the 
great tenor, singing like a machine, and giving not the 



372 RECORD OF THE BOSTON 8TA< 

least idea of Harry Bertram, Count Belt no, or Tom 
Tug. A few performances, to wretched homes, < ' 
this unfortunate exhibition, and Braham returned to his 
appropriate field of action, the concert room, where he 
continued to reap a golden harvest, and by hi> superb 
vocalization soon effaced all recollection of his failure in 
opera. England's greatest tenor, as we have already 
stated, was introduced to Boston audiences by the Handel 
and Haydn Society. The announcement of his debut 
was a chef tPwumre of the enthusiastic secretary, who, 
for so many years, managed the affairs of that usstlfllS 
tion. On the 20th and 22d of November, 1840, two 
entertainments were promised, BO affording Bo-touiau> 
the only opportunity of listening to the dulcet notes of 
Europe's most celebrated songster. Crowds rushed to 
pay their dollar for this only opportunity, and the vast 
majority were fully satisfied that John Braham's reputa- 
tion had a solid foundation in the great feats he accom- 
plished. His remarkable power, compass, and good 
quality of voice, fairly astonished, in their remarkable 
union, all listeners. They could not credit the existence 
of their own senses, when they witnessed such daring 
and brilliant performance of the greatest difficulties, by 
a man acknowledged to be very near threescore and 
ten. The sensation produced by his wonderful command 
of the most extensive tenor repertoire, and the thrilling 
energy and delightful verve and expression, that gave 
all his music grace and color, was increased to a positive 
furore by the fracas between the Handel and Haydn 
Society and a critic. A flaming card appeared in the 
journals of that day, signed by several prominent mem- 
bers of the Handel and Haydn, in which the critic was 



RECORD OF THE BOSTON STAGE. 373 

denounced as unworthy of credit and public confidence 
in his vocation of critic. 

So unusual a procedure stirred up a mighty commo- 
tion here, and the amount of discussion and excitement 
produced, almost equalled hard cider and log cabin 
uproar through which the country had then passed. 

Mr. Braham, after his failure at the Tremont, went 
into the concert-giving business on his own account, 
besides singing for the Handel and Haydn in oratorios 
and selections from sacred music. Toward the close of 
his somewhat protracted concert season, he invoked 
Russell and the Earners to his aid. His farewell con- 
cert took place Feb. 16, 1841, and his last appearance 
on the 20th of that month, for Mr. Hayter's benefit. 

In sacred music, his most popular and effective per- 
formances were, " Sound an Alarm," from Judas Mac- 
cabaeus ; " Comfort Ye," and " Every Valley ; " " Thy 
Rebuke," and " Behold and See ; " " He that Dwelleth," 
and " Thou shalt Dash Them ; " " Deeper and Deeper 
Still," and "I'll Waft her Angels;" "Total Eclipse," 
and " Why doth the God of Israel Sleep," and " The 
Judgment Hymn." He was also pleasing in the 
" David " of Neukom, (though in that he fell short of 
Coburn in his best days,) and in the tenor songs from 
" The Creation." 

In " Sound an Alarm," " Thou shalt Dash Them," 
the great tests of a tenor in " Samson," and " The 
Judgment Hymn," he has never been approached here, 
and the most daring are confounded in their attempt to 
imitate his surpassing excellence. 

In music of a secular character, he shone most bril- 
liantly when delivering " Scots wha hae wi' Wallace 



374 RECORD OF TIIE BOSTON STAGE. 

bled," " All the Blue Bonnets are over the Border," 
"The Bay of Biscay," "The Death of Nelson," and 
u Tlie Marseilles II) inn." His fire and outpouring of 
soul in these moved and swayed his audience to a degree 
few tenors ever attained with our cold public " Rocked 
in the Cradle of the Deep," "The Soldier's Dream," 
"Robin Adair," "The Last Words ofMarmJon,* "The 
Evening Gun," and " Kelvin Grove," never failed to 
bring out his wondrous union of feeling and expression 
with just the amount of execution which should meet 
the demands of the music, and yet not smother and 
conceal the sentiment. John Braham was a marvel, 
and those who missed the opportunity to hear that 
greatest musical wonder of this or any other age, must 
have deeply regretted their inadvertence. He retained 
his energy and command of the tenor scale longer than 
any other man has ever done. Donzelli, the celebrated 
Italian prima t< /tore, who flourished some twenty years 
since, came the nearest to Braham in this respect, hav- 
ing acquitted himself well in Otello at Naples when 
sixty years old ; but John Braham made the Birming- 
ham town hall ring with his clarion voice at the age 
of eighty, and last winter filled Exeter Hall with admir- 
ing throngs, when some years past that extreme limit 
of human life. 

The theatre was kept opened at full prices until Feb. 
10th, a period of twenty-five weeks, the receipts of 
which were $45,504.75. It was then closed, but re- 
opened on the 15th at reduced prices, with " The 
Cataract of the Ganges," a fine equestrian troupe hav- 
ing been engaged. " Napoleon," " Amalek, the Arab," 
and " Mazeppa," were brought out. Mr. Creswick was 



RECORD OF THE BOSTON STAGE. 375 

the hero of these pieces, and he delighted not only the 
juveniles, but the entire public. Mr. and Mrs. Vanden- 
hoff, Hill, and others, appeared. 

The first half-price night brought $603.13 to the 
house, and the average receipts for many weeks at the 
half price were equal to the average of full prices. 
The Woods, at full prices, averaged for three weeks 
$2,886.50 ; the equestrian corps for a similar length of 
time, at half price, $2,033 ; and the Vandenhoffs, 
$1,800. Thus the half price, with less attraction and 
less expense than the Woods, produced an attendance 
greater in proportion, and the receipt of nearly as much 
money. The gross receipts of the season for forty-two 
weeks were $70,250.67, of which $18,531.14 were paid 
to stars. 



CHAPTER XXVI. 

The Last Years of the Tremont Theatre. — Messrs. Andrews and Pres- 
ton. — The Seguins. — Visit of the Prince de JoinviUe. — Samuel' 
Butler.— Boz. — Season of 1842-3. — George Vandenhoff. — The- 
Broughams. — Josh. Silsby. — Closing Scenes at the Tremont. — 
The Last Night. — First Appearance of the Learned Blacksmith. — 
Destruction of the Temple by Fire, etc. etc. 

Mr. Jones relinquished his connection with the 
theatre at the close of the season of 1840-1, when Mr. 
Geo. H. Andrews and John Preston, Esq., undertook 
its management. The season under their auspices com- 



376 RECORD OP THE BOSTON STAGE. 

menccd on the 23d of August, when the " Heir at Lfl 
"33 John Street," and "Lottery Ticket," were per- 
formed, and a new drop act from the pencil of M r. 
Samuel Stockwell, fell for the first time. The company 
embraced Mr. and Mrs. John G. Gilbert, Mr. and Mrs. 
J. ML Field, Mrs. W. II. Smith, Miss Fisher, Mrs. 
Cramer, W. F. Johnson, S. Johnson, Fenno, Mr. and 
Mrs. Creswick, etc. Mr. Coiner was musical director, 
Signor Ostinelli led the orchestra, and Miss Fanny 
Jones was principal danseuse. The leading stars were 
Backet, Forrest, Mr. and Mrs. Seguin, Mr. Manners, 
Elssler, and Sam. Butler. 

The Seguins were very successful, and occupied a 
large share of public attention, even from the date of 
their first appearance in this city, Nov. o, 1838, to May, 
1847, when Marti's Operatic Company eclipsed in their 
admirable presentment of Italian Opera, all the glories 
of former dramatic vocalists, and consigned English 
opera to neglect. When Mr. Seguin first appeared 
here in Rooker's opera, " Anidie, or the Love Test," he 
produced a marked sensation. A critic upon that opera 
as then presented at Tremont Theatre for the first time, 
says of him : " The moment Seguin opened his mouth, 
one universal gape of astonishment infected all, such was 
the wonder produced by his magnificent organ. At the 
first close of his recitative, the most enthusiastic ap- 
plause appreciated that pure, legitimate, and ponderous 
bass ; of large and even quality, his distinct enuncia- 
tion, perfect intonation, and such a body of tone, that 
Lablache alone will be placed above him. * My boy- 
hood's Home* caused an immense sensation." Mrs. 
Seguin appeared in opera a year or two after this, and 



RECORD OP THE BOSTON STAGE. 377 

by her remarkable versatility, tact in management, and 
intense devotion to getting up the operas, frequently 
rehearsing and directing all day and singing in the 
evening, pecuniary success for a long time crowned the 
Seguins with laurels. Her best character was undoubt- 
edly the Bohemian Girl, and his Devilshoof, in that 
opera. Both were clever, and taking in a wide range 
of characters by a pleasing union of good singing with 
appropriate action and excellent by-play. He was 
probably the best actor that ever appeared on the 
operatic stage, when the character suited him, and he 
was in the vein. In the opera just alluded to, " The 
Postillion," and " Massaniello," he was exactly suited 
with a role to bring out the humor and vivacity so pro- 
fusely given by nature. Just before his death, Mr. 
Seguin became the low comedian at Wallack's Lyceum 
in New York, but made no sensation there, and his 
friends regretted that close of a brilliant life, especially 
when it was found that no pecuniary distress induced 
the mistake. 

Fanny Elssler, supported by Mons. Sylvain, appeared 
on the 13th of October, and attracted, as on her former 
visit, crowded houses. Her last appearance in this city 
was on the 17th of November, when she gave the 2d 
act from " La Sylphide," 2d scenes of " La Gipsey," and 
"JalleodeXeres." 

On the 2 2d of November, James Sheridan Knowles' 
comedy of " Old Maids " was brought out, and run for 
one week, when it was shelved, and since then has 
rarely if ever been performed. It did not do well at 
the Tremont, but this was not entirely owing to the 
want of merit in the play, but to the great outside attrac- 



378 RECORD OF THE BOSTON 

tion of the Prince de Joinville, and thai never-to-be- 
forgotten ball, given io his honor at Faneuil HaU, which 
bad more powerful attractions than the theatre. Mr. 

Sam. Batler from London next essayed to attract an 
audience, and Mr. T. C. (irattan's "Ben Nazir " 
brought out, for the first time in America, Dec 6th. 
The author was at the time British Consul in this city. 
The play was originally written for Edmund Kcan, and 
with it he hoped to regain his position in the theatrical 
world of London, but lie was unable to commit even 
the word- to memory, and it proved a most signal 
failure. Kean being convinced that he had lost the 
power of study, never afterwards attempted B new part. 
Mr. Butler did what Kean could not, he was perfect in 
the text, but his talents were not of that stamp to present 
a new part in the most favorable light, though he gained 
applause for his Hamlet and other characters. lie was 
a man of commanding figure, and after his return to 
England, became unsuccessful both as an actor and 
manager, and finally resorted to drinking, which hastened 
his death. 

The theatre in December was closed. The full prices, 
that is $1 to the boxes, had been in force, and it proved 
almost ruinous. On the 20th of December, the theatre 
after a temporary close, was re-opened at half prices, 
with " London Assurance," which was given with the 
following cast : — 

Sir Harcourt Courtly, .... John Gilbert, 

Charles Courtly, Creswick, 

Dazzle, Field, 

Meddle, Johnson, 

Cool, Fenno, 

Mr. Spanker, S. D. Johnson, 



RECORD OF THE BOSTON STAGE. 379 

Lady Gay Spanker, . . ' Miss Charlotte Cushman, 
Grace Harhway, . . . Mrs. Field, 
Pert, Miss Fisher. 

Mr. Gilbert's Sir Harcourt was not generally admir- 
ed ; and though he has since frequently performed it, 
has never given satisfaction to the critical. At this 
time, in fact, Mr. W. E. Blake, the best Sir Harcourt 
ever probably on the American stage, was announced 
to succeed Mr. Gilbert in this part, and the latter taking 
umbrage, retired from the company. Mr. Field's Dazzle 
has only been equalled by John Brougham, who is the 
only rival that ever approached the original presenta- 
tion by Mr. Field in this city. The play of " Nicholas 
Nickleby " was revived, and on Monday, Jan. 24th, Mr. 
Field brought out his Masque Phrenologic, entitled 
" Boz," on which occasion Charles Dickens, Esq., was 
present. Mr. Field did Boz, and a most correct coun- 
terpart he was. The masque was an introduction of 
Dickens' leading characters upon the stage. 

The result of twenty-five weeks' management found 
Messrs. Andrews & Preston about ten thousand dollars 
worse off than at the commencement, and they tendered 
the lease of the house to the proprietors, which was 
accepted. The theatre had not been managed in all its 
departments as it should have been, and the Boston 
Museum performances, at twenty-five cents, were com- 
mencing to be somewhat attractive. A commonwealth 
was then formed among the actors, who made a joint 
interest. Under this system, Mr. Forrest and Miss 
Clifton, Miss Mary Ann Lee, Miss Julia Turnbull, 
Herr Driesbach and his lions, appeared. A paying 
business was done at first ; but before the season closed , 



380 RECORD OF THE B06TON STA I 

trouble broke out in the company, relative to the appear- 
ance of Mrs. Cramer, who had previously left the com- 
pany, and Johnson and Field indulged in a set-to in the 
box-office. This matter was called up on a night of 
performance, and Mr. Child, the treasurer, came out 
and explained matters. The theatre closed in June, to 
the regret of no one. 

The season of 1842-3, and 'the last at this theatre, 
waa opened by J. S. Jones. It commenced on the 5th 
of September, with " Poor Gentleman," and "A Roland 
for an Oliver." Messrs. Chapman, J. C. Howard, and 
Mr. and Mrs. Greene, were members of the company. 
On the 15th- of November, Mr. George Vandenhoff 
appeared at the Tremont, as Hamlet, a part of which 
his father stands pre-eminently the representative, in 
the memory of all theatre-goers. The success of the 
son, however, was commensurate with his abilities. 
Mr. Jones brought out this season " The Braziers of 
Naples," which had a good run. In the month of Jan- 
uary, 1843, Mr. Thomas Barry played a short engage- 
ment, and in the same month Mr. and Mrs. John 
Brougham, then lately from England, though they had 
visited New York and Philadelphia, just previous to 
their Boston visit, played a good engagement. They 
opened in the " Love Chase." Mr. Brougham appeared 
as Dazzle, and, though it was very acceptible, was ob- 
jected to by some as being too much of an Irishman. 
Mr. Gilbert played Sir Harcourt, Mrs. Brougham Lady 

Gay, and Mrs. W. H. Smith Grace Harkway. Mr. 
Ayling and Mr. Leman were also in the play. Josh. 

Silsbee, who has since acquired considerable reputation 
abroad, Mr. Forrest, Miss Clifton, Professor Risley, 



RECORD OF THE BOSTON STAGE. 381 

and his son, the Olympic Circus, H. P. Grattan, and 
the Ravel Family, were the leading attractions. The 
.performances of Risley and his son have since been 
imitated, but never equalled. He was Magnus Apollo in 
comeliness, a Hercules in strength, and the son a Cupid 
in beauty. Of all exhibitions of physical grace in clas- 
sical posturing they surpassed any we have ever seen. 
The throwing of the boy into the air, who turned a 
somerset and alighted safely on his father's feet, invari- 
ably drew forth the loudest applause. Risley, previous 
to his arrival here, narrowly escaped death by the 
earthquake at Port-au-Petre. He subsequently visited 
England, where his little boy became the pet of the 
nobility. 

The closing scenes at the old Tremont may be briefly 
related. In the month of June, 1843, on the 17th, 
President Tyler visited Boston, to attend the ceremonies 
attending the completion of Bunker Hill Monument, 
when Webster delivered the oration. The theatre 
that week was thronged with strangers, and a perfor- 
mance was given on Saturday evening to accommodate 
the hundreds that were here from the country. The 
proprietors, having concluded the sale of the theatre to 
Rev. Mr. Colver's Baptist Society, the last night's per- 
formances were announced for the benefit of the man- 
ager, J. S. Jones, June 23, 1843, when "The Poor 
Gentleman, two dances by Fanny Jones, and " A Lover 
by Proxy," filled up the bill of entertainment. 

At the close of the acting, the entire dramatis personce, 
consisting of nearly twenty individuals, male and female, 
advanced towards the foot-lights arranged in crescent 
form, and executed a charming Scotch air with much 



382 RECORD OF TIIE BOSTON STAC I. 

effect, accompanied with obvious strong emotions in 
their parting adieus to the community who had bestowed 
on their efforts its long sustaining rays of patronage. 
Loud and repeated huzzas, with constant waving of hats 
and handkerchiefs, followed the piece, which was suc- 
ceeded by a spontaneous call from the whole audience 
for Mr. Junes. In compliance with it, in a moment or 
two he appeared before his patrons, and addressed them 
in a very appropriate manner. During its delivery his 
manner indicated dee}) feeling, oppressed with heart- 
felt regret, in contemplating the change that was about 
to take place in that temple of the muses. The edifice 
was raised and dedicated to illustrate the histrionic art. 
It was adapted to such purpose, and to no other properly. 
It could have been conducted in that manner which 
would have fully tarried out its tasteful and public 
spirited founders. It had been the resort of the elite, 
the refined, the respectable, and the moral of both sexes 
and of all ranks. lie thanked these classes for their 
support during his management. The doctrine had 
been industriously circulated, that the drama was on 
the decline ; but this -was not so, as when he had en- 
gaged considerable attraction, the house was not near 
large enough to admit the throng that endeavored to 
press within its walls. It could have been altered to 
have answered this object, and then it would have been 
profitable to all parties interested. If ever there was a 
time for a manager to make a speech, this was the hour. 
But he was unused to public speaking, though if it were 
otherwise, he should not enlarge on the causes which 
will transform the theatre into another institution. He 
could do so, and show that they did not originate so 



RECORD OF THE BOSTON STAGE. 383 

much in a desire for private and public good, as the 
unworthy motives to subserve the base designs of aver- 
sion and bigotry. Yet he forbore. The truth would 
hereafter appear. In conclusion, he thanked the audi- 
ence for their uniform kindness, and respectfully and 
sincerely bade them farewell. His remarks were con- 
tinually interrupted by enthusiastic applause. 

The next speaker called for was Boston's favorite 
son, Mr. John Gilbert. He came forward and spoke 
some minutes, expressing the same views as those of 
Mr. Jones, with reference to the drama and the altera- 
tions soon to take place on that stage. The house was 
the appropriate place for his profession, and for nothing 
else. It was built at great expense for that object, and 
should be devoted to it. There were defects in the 
drama, but they could be removed by judicious manage- 
ment, and all its objectionable traits effaced, whereby 
the most scrupulously fastidious might be satisfied that 
it was a good institution, and be induced to patronize it. 
He was a Boston bay, and he felt for the honor of the 
place of his nativity, in the prospect of his fellow-citizens 
permitting the drama, which was one of the instruments 
of social refinement and mental cultivation, to go down 
in darkness. No one regretted the aspect of gloom that 
hung round its destiny more than Mr. Gilbert, who had 
been associated in this city with this house from the 
moment it was built. Yet he would not despair. There 
was a redeeming spirit in his fellow-citizens. He could 
not bring himself to believe they would allow such a 
result ; and, therefore, he would not take his last leave 
of them, but merely bid them good night. He bowed 
and retired amidst constant cheering. 



384 RECORD OF THE BOSTON STAGE. 

A call was then made on Mr. J. M. Field, but he did 
not appear. Mr. Blake, of another establishment, hen 
rose in the proscenium box, and stated, that six',' 
years ago, on the opening of the Tremont Theatre, he 
delivered the introductory poetical address upon its 
boards; and now, by a singular novel occurrence, hi 
found himself placed in a position where, perhaps, he 

might utter the last words within its walls in Us behalf. 
He would embrace that fortunate opportunity. lie 
then went into a defence of the drama, considered and 
.answered the principal objections to it in an able man- 
ner ; showed they were unsound, and the offspring of 
ignorance and prejudice, combined with the cant of the 
day. lie proved that this institution had been in ancient 
days, and is, and will continue to be in coming genera- 
tions, the handmaid of mental and moral improvement. 
It always had been attacked by fanaticism, without 
sound reason. It.- use was one thing; its abuse another, 
and a very different thing. For that, it should not be 
condemned. Religion itself had* been abused. He 
respected true piety, but not that assumed sanctity 
which had assailed the drama, and to which this institu- 
tion might be sacrificed. The test of virtue was found 
in acts, not words. By this rule, he was perfectly 
willing to institute a comparison between the lives of 
actors and actresses and those religious zealots who 
believed themselves to be alone righteous, and despised 
others, the members of his profession. In the hour of 
affliction, at the bedside of the sick and the dying, he 
had often witnessed the conduct of the two parties. He 
had seen the actress smooth the pillow, administer the 
medical drug, and speak words of consolation to the 



RECORD OF THE BOSTON STAGE. 385 

expiring patient, when the assumed pious fled from the 
contagion of the fatal disease ; he had witnessed the 
burial by actors when even ministers shrunk from the 
performance of their duty. Such scenes were frequent 
among his profession, and he submitted which had the 
best claim to be called Christians. The sketches of 
benevolence the speaker drew were touching, and lis- 
tened to with silent attention, and at the end applauded 
with hearty feeling. Previous to leaving the house, the 
audience gave nine enthusiastic cheers, and separated 
with manifest regret that this cherished institution, the 
work of their fathers, an ornament and a boast of the 
metropolis, should be converted from the original inten- 
tion of its builders. 

The theatre had been opened forty-two weeks. The 
expenses of the stock company for thirty weeks were 
$900 per week, and a reduction was then made for the 
remaining twelve weeks, which averaged $700, making, 
with the amount paid to stars, $15,095.02, the gross 
sum of $50,495.02. The largest receipt any one night 
was $734.37, and the gross receipts for the season were 
$47,525.25, leaving the deficiency of about three thou- 
sand dollars. Such was the result of the last theatrical 
season at the Tremont Theatre. 

On the evening of June 26th, the learned blacksmith, 
Elihu Burritt, delivered a lecture in the theatre, the 
nett proceeds of which went towards defraying the cost 
of the alteration of it into a church, which was done at 
an expense of about $25,000. A portion of the build- 
ing was arranged for stores, offices ; and the large hall, 
used on Sunday as a place of worship, was, on week 
days and evenings, let for miscellaneous meetings, 
25 



386 RECORD OP THE BOSTON STAGE. 

political caucuses, concerts, lectures, etc., and the name 
of the " TbKMOKT Temple" was given to the edifice. 
The Mercantile Library Association here held their 
popular Mriefl of lectures, and Webster, Choate, and 
Kverett, poured forth their eloquence to delighted 
audiences within its walls. It was here that Jenny 
Lind, Kate I laves, and others, charmed enthusiastic 
auditories ; and it was here also that (Jliddon discovered 
the sex of Anch-pa-mach, to the astonishment of those 
who witnessed the unrolling of the mummy. 

In 1849, the edifice narrowly escaped destruction by 
fire, which originated in the basement; and it was 
finally destroyed by fire on the morning of Wednesday, 
March 31, 1852. At this conflagration, Mr. John Hall, 
a carpenter, lost his life, and George Estee, a fireman, 
was injured for life. The total loss of property I 
very large, as the building was occupied by artists, 
dentists, etc., whose actual loss could not be ascertained. 
Mr. Thomas Thompson, a gentleman of this city, had 
in the attic a large number of valuable paintings and 
statues, all of which were destroyed. The fire likewise 
communicated to Chapman Hall and other adjacent 
buildings, which were destroyed. 

The proprietors soon determined to rebuild the 
Temple, and a large and beautiful edifice, containing a 
fine music hall, now occupies the site where formerly 
stood the Tremont Theatre. The architect, Mr. Wm. 
Washburn, has combined economy of room with elegance 
of accommodation, and the greatest ingenuity is exhibited 
in the introduction of light into the passage ways and 
rooms. 



RECORD OF THE BOSTON STAGE. 387 



CHAPTER XXVII. 

The re-opening of the Boston Theatre. — 0. C. Wyman, Esq. — The 
Seguins. — The Howard Athenaeum. — Mr. and Mrs. Charles 
Kean. — Edwin Forrest. — Mr. Fleming. — The Museum. — King 
John. — The Viennoise Children. — Titus A. Peep, Esq. — C. E. 
Thorne. — The last Season. — Messrs. Wright, Fenno & Co., etc. 
etc. 

The re-opening of the Boston Theatre, in 1846, for 
theatrical representations, brings us once more to 
chronicle the progress of the drama under its time- 
honoured roof. For many years it had been used as a 
lecture room, or occupied by musical and religious so- 
cieties for their exercises. Mr. Oliver C. Wyman, by 
the advice of many friends, in 1846, leased the build- 
ing, and at once restored the interior to its original 
adaptation. It was a hazardous undertaking, but the 
lessee being amply qualified for his post, nothing was 
wanting to ensure jts success on the score of man- 
agerial ability, but unforeseen circumstances prevented 
the accomplishment of that end, which, under more 
favourable auspices, would have resulted from this at- 
tempt to render Old Drury once more, the theatre of 
Boston. The interior arrangements were somewhat 
faulty in design, and alterations were subsequently 
made. The company engaged was numerous and! 
effective, embracing Mr. and Mrs. Gilbert, Mr. and 
Mrs. Bland, (formerly Miss Faucet,) Mrs. W. H. 
Smith, Mr. Phillips, Mrs. Cramer, Mrs. Mueller, Miss 
Wagstaff, Miss Bouquet, etc., with Brougham, Fleming, 



388 RECORD OF THE BOSTON STAGE. 

T. Placidc, Whitney, Stevens, etc. The managerial 
corps was organized as follows : — 

Mr. 0. C Wvinan. 

Stage Manager, John G. Gilbert 

-:irer, Charles Craft. 

Prompter, II. .1. Com 

der of Orchestra, and Musical Director. C. H. Mueller. 

Principal Scenic Arti-t, . . . . S. B. Stockwell. 

Machinist, D. P. Els\v.«rth. 

Oostumer, s. D. Johi 

Property Maker, .... Andn 

The opening night was August 21, 18 10. The plays 
were, " Speed the Plough," a d the " Irish Lion," cast 
to the entire strength of the company, and the house was 
tilled in every corner by not only those who in years 
previous had here received their choicest theatrical 
entertainments, but by many who hailed with pleasure 
the dawn of a new era in the production of the legit- 
imate drama in this city. 

A Prize Address, written by Mrs. Frances 8. Osgood, 
was spoken by Mr. Gil -ert. As a composition, it is 
meritorious, but it was not adapted to the occasion. 
Many anticipated that the poet would recall the scenes 
of the past, in which Old Drury was so richly endowed, 
but the Muse was content with recalling to recollection 
the leading characters of the drama, closing with the 
following lines : — 

" Here the lithe spirit of the dance shall spring, 
Like an embodied zephyr on the wing. 
Here, too, the soul of song shall float in air, 
And on its wings your hearts, enchanted, bear ; 
Ah ! yield to them, to us, the meed we claim, — 
Your smiles to light the path that leads to fame. 



RECOKD OF THE BOSTON STAGE. 389 

So shall this life of mockery seem more sweet, 
And flowers shall rise to rest our pilgrim feet, 
While from our lips, inspired by hope divine, 
Like fire shall flow the bard's melodious line." 

The act drop, by Stockwell, was a well designed and 
spiritedly finished picture of " Athens as it is," repre- 
senting the modern city and the ancient ruins in one 
comprehensive view. Mr. George Barrett appeared. 
Mr. Henry Placide played two engagements this sea- 
son, one of which was very good. His Sir Peter Teazle 
was a finished performance, and his Haversack in 
" Napoleon's Old Guard," will long be remembered. 
The " Comedy of Errors " was brought out during his 
engagement, and the Two Dromios were played by 
Messrs. H. and T. Placide. Mr. J. W. Wallack made 
his first appearance, after an absence of two years, on 
the 14th September, 1846, when he played Benedict 
and Dick Dashall. His share of a fortnight's engage- 
ment was about $1200, and the most popular piece was 
" Don Caesar de Bazan," which drew upwards of $600 
nightly. 

The Seguin Operatic Troupe succeeded Wallack. It 
was composed of Mr. and Mrs. Seguin, Mr. Frazer and 
Mr. Meyer ; and the operas of the " Postillion of Lon- 
jumeau," " La Sonnambula," " Don Pasquale," " Brew- 
er of Preston," " Bohemian Girl," and " Norma," were 
brought out. Balfe's " Bohemian Girl " drew the largest 
house, $712, and the Seguin Troupe, for a three weeks' 
engagement, received about $2,500. 

It was during the Seguins' engagement at the Old 
Theatre, that the present Howard Athenaeum was 
opened (Oct. 5, 1846) by James H. Hackett & Co., 



300 RECORD OF THE BOSTON STAGE. 

which had some effect upon the close of their engage- 
ment. 

Boston was again possessed of two first-class theatres, 
after an interval of several years, and the struggle 
for superiority was strong. On the 10th of October, 
Mr. and Mrs. Charles Kean commenced an engagement 
at the Boston Theatre, with the "Gamester." The 
remembrance of Ellen Tree drew forth the fashionable, 
and a brilliant audience was in attendance, though the 
receipts were only $505.80. " Ion " drew $622.65, and 
two benefits averaged $700. The opposition at the 
Howard Athenaeum, during the Roans' engagement, 
would have seriously affected less brilliant stars. On 
one evening at the Howard, Mrs. Mowatt, Madame 
Augusta, Md'lle Dernier, George Vandenhoff, and 
Davenport, all appeared ; a combination that would, 
if presented now, attract a thousand dollar house. Mr. 
Wallack succeeded the Kean-, but the engagement was 
" poor business," all round ; but on the lGth of Novem- 
ber, that never-failing attractive star, Edwin Forrest, 
came to the relief of the management, and brought to 
the house good and paying audiences, as the reader 
will see by the following receipts of the first six 
nights : — 

1846. 



ember 16, 


Kin<x Lear, 


$518 44 


17, 


Othello, 


. 694 50 


18, 


Metamora, 


872 31 


19, 


Macbeth, 


585 00 


20, 


Damon and Pythias, 


563 45 


23, 


Metamora, . 


719 75 



53 45 

The engagement continued through three w r eeks, 



RECORD OF THE BOSTON STAGE. 391 

(Booth at the Howard,) and Mr. Forrest's share was 
upwards of 81,000. On the night of his benefit, he 
played Claude Jfehwtte to Mrs. Bland's Pauline, and 
to an audience of $722.14. It was during this engage- 
ment that Mr. W. M. Fleming, the present acting 
manager at the National, first received from the Boston 
public that meed of praise, which he merited by his 
very able support of the great American tragedian. It 
gives us pleasure to record that Mr. Fleming has 
never forfeited the good opinion then so warmly ex- 
pressed by the press and the people, and still continues 
one of Boston's favorites in his line of business. For 
correctness in the text, he is noted, and his undivided 
attention is invariably given to whatever he attempts. 

After Forrest, Mr. James Murdoch came, but the 
attractions at the Howard (Miss Mary Taylor, Hackett, 
VandenhofF, Crisp, Warren) were too powerful, and 
the receipts rarely exceeded $100. The same may be 
said of Mr. Placide's second engagement, though there 
was a temporary revival of the interest in the perform- 
ances at this theatre, when Mrs. George Barrett was 
called on to sustain Mr. Placide, in the leading female 
parts. The receipts, when entirely dependent upon the 
stock company, did not on some nights exceed $50, and 
the weekly expenses averaged about $800. 

The Museum at this time was coming into notice, 
and assuming a position among the theatrical entertain- 
ments of the day. Messrs. Smith, Mestayer, Hunt, 
Mrs. Knight, were there, and plays were presented 
with that care and attention which has since brought 
this place so favorably into public notice. The National, 
under Pelby, was also doing a good business, by cater- 



392 HECORD OF THE BOSTON STA I 

ing to the " blood-and-thunder " taste of the lower half 
million ; and, as ire have stated, Ilaeket, at the Howard, 
was straining every nerve to produce attractions. Un- 
der these disadvantageous circumstances, none of the 

managers were reaping a very great harvest. Mr. 

Wyman commenced at this time a correspondence with 
Kean, to bring out " King John " with his splendid 
dresses, etc., a- produced at tin; Park Theatre in New 
York, very generously offering to expend a large sum 
in getting it up, provided Mr. Kean would divide after 
one hundred per night, but he insisted upon half the 
gross receipts. This Mr. Wyman refused to give, 
unwilling to run so great a risk. It was unfortunate 
for both, that some arrangement was not entered into. 
The Viennoise Children arriving in New York, Mr. 
Simpson cut Mr. Kean short at the Park, and for eight 
weeks he was idle, [it a loss to him of several thousand 
dollars. Had Mr. Kean accepted Mr. Wyman's pro- 
posals, he would have been at the Boston when the 
Viennoise were at the Howard, and their immense 
attraction would in a great measure have been equalled 
by " King John." Failing in this, the " Forty Thieves," 
and " Beauty and the Beast," were the chief attractions 
at the Boston, to offset the forty-two Viennoise children, 
till the Seguin Troupe arrived. The result was dis- 
astrous to the fortunes of the Boston Theatre. The 
novelty of the Viennoise attracted for many weeks, 
while the Boston was doing but little. An occasional 
benefit, of a member of the stock, drew a good house. 
John Brougham's extravaganza of " Titus a Peep," 
attracted $359.88. This was a local farce, founded 
upon the following incident. On an evening when Mr. 



RECORD OF THE BOSTON STAGE. 393 

Forrest was performing, some gentlemen who had 
indulged in rather more than their heads could con- 
veniently bear, occupied the stage box, and were so 
boisterous in their talk as to interrupt Mr. Forrest, 
who coming down from the stage, met "Acorn" behind 
the scenes, and at once remonstrated. " Never mind 
them," said Acorn ; " they have been requested to keep 
more quiet, but the truth is — they are tight as peeps." 
Mr. Forrest, misunderstanding the reply, remarked, 
that he did n't know who Titus A. Peep was, but he was 
bound to have him put 01 t, if he made any farther dis- 
turbance. The season closed on the 15th of March, 
when Mr. Crafts took a benefit, and Mr. Wyman, who 
had fitted up the house at a great expense of $20,000, 
retired from the lesseeship much poorer than when he 
commenced. 

Mr. Charles R. Thorne became the next manager of 
the Boston, opening that house on the 21st of June, 
1847, for the purpose of presenting the Yiennoise 
Children, who continued till the 4th of July. Under 
Mr. Thome's management, the dramatic season of 
1847-8 was commenced on the 16th of August, his 
stock company embracing Mr. and Mrs. Thorne, Mrs. 
Cramer, Miss Mestayer, Mrs. Mueller, Messrs. Neaffie, 
McFarland, Spear, W. F. Johnson, all of whom ap- 
peared on the opening night in the comedy of the 
" Honeymoon." Mr. J. B. Booth, Jr., was also a 
member, and in some part gave promises of future 
eminence, which promises, we regret, have never been 
realized. The star engagements were with Mr. C. 
Webb, French Ballet Company, Wallack, Booth, (who 
played Othello to his son's Iago,) Forrest, Anderson, 



"Wl RECORD OF THE BOSTON BTAG1. 

E. S. Conner, Madame Anna Bishop's Opera Company, 
Jim Crow Rice, etc. etc. 

The leading stock pieces brought OOt were the "Last 
Days of Pompeii," and " Mazeppa." 

In the fall of 1848, (Nov. 6,) Messrs Welch, Del van 
k Nathans, gave their equestrian pantomimic and dra- 
matic performances at the Boston, and had a very pros- 
perous season. From this time it was Opened by various 
adventurers, and for many purposes. Miss Coshman 
played an engagement here .after her return from 
Europe. In 1850, the Ravels leased it, and did an 
immense business, and in 1851, Macallister the magician 
attracted full and fashionable houses for a period often 
weeks. Still later, Parodi, under the auspices of Mr. 
Walker, appeared at this theatre. 

On the 13th of April, 1852, the theatre and land were 
offered at public sale. On the front lot in Federal St., 
$4.25 was bid; but the sale was postponed, and in a 
few days was sold at private sale, to Messrs. Merriam, 
Brewer & Co. 

On the night of the 22d of April, 1852, the National 
Theatre was destroyed by fire. Messrs. Wright, Fenno 
& Co., the lessees, at once applied to Messrs. Merriam, 
Brewer &c Co., for the use of the old theatre. The 
property was not then in their possession, and the 
stockholders of the Boston Theatre, having concluded 
the sale, were fearful that some accident might cause a 
fire, and the sale would be vitiated. Messrs. Merriam, 
Brewer & Co., with great generosity, and from sym- 
pathy with the managers of the National in their dis- 
tress, at once agreed to take the theatre, at the time 
agreed upon, taking all risk upon themselves. This 



RECORD OF THE BOSTON STAGE. 395 

decision gave Messrs. Wright, Fenno & Co. a field to 
operate in, and the bills were out the same day for the 
opening of the Boston, with " Love's Sacrifice," and 
" Caught in his own Trap ; " thus enabling Mrs. Sin- 
clair and Mr. VandenhofF to complete the engagement 
they had commenced at the National. The receipts of 
this brief and last theatrical season at the Boston The- 
atre were as follows : — 

1852. 

April 22, Love's Sacrifice, Caught in his own Trap, . $406 87 
" 23, " " Sketches in India, . . .370 75 

" 26, Lady of Lyons, and High way Bob., . . 436 00 

" 27, Much Ado, and Two Queens, . . . . 385 25 
" " " ' Auction Sales, .... 28 00 

" 28, Lady of Lyons, and Sketches in India, . . 322 25 
VandenhofF 's Benefit, Auction Sales, . . 15 87 

" 29, Much Ado, and Eough Diamonds, . . .254 37 
" " Auction Sales, . . . . 9 12 

" 30, Patrician's Daughter, and Queen's Husband, . 280 87 

May 3, Ingomar, and Swiss Swains, . . . 227 37 

" 4, " King and Carpenter, 162 50 

" 5, School for Scandal, Governor's Wife, . . 252 37 

" 6, Benefit of the National Company, Mrs. Sinclair and 

Mr. Vandenhoff volunteer, . . . . 167 12 
" 7, Lady of Lyons, 2d act, and School for Scandal, Mrs. 

Sinclair's Benefit and last appearance, . 350 00 

" 8, Afternoon Miscellaneous Performance by Stock 

Company, 17 87 

On the closing night of this house, by the National 
company, William Shimmin, Esq., of this city, was 
present, and witnessed the last fall of the curtain, hav- 
ing been one of the audience that hailed the opening of 
the Boston Theatre on the 3d of February, 1794. 

On Saturday evening, the Aurora Dramatic Club 
played for the benefit of the sufferers, giving " Speed 



39G RECORD QF THE BOSTON STA 

the Plough," and "A Nabob for an Hour," the last 
performance given at the Boston Theatre. The house 
was bad. 

The enterprise of Messrs. Wright, Fenno tic Co., in 
thus opening the theatre, was a dramatic triumph ; for 
though the old theatre was stocked with scenery, the 
wardrobe was lacking, and many members of the com- 
pany had lost their all by the fire of the night previous. 
The opening exclamation of St. Loo in the play per- 
formed, where he Bays, — 

'• Drained to the bottom, and my pocket made 
What prudent Nature loathes, a vacuum! 
1 am an empty bag," etc. — 

was too true of many an actor, who played that night 
in borrowed clothes, of some fellow-actor at the How- 
ard or the Museum. As the purchasers had made pre- 
parations to build, they could only allow performances 
until Friday, the 7th of May. On Monday, May 10th, 
Messrs. Clark & Son sold at auction the properties and 
fixtures of the theatre. Hundreds were attracted to 
the sale, to take a farewell view of a theatre so rich in 
hi>torical associations, many of which we have endeav- 
ored to chronicle in this Record. A beautiful block 
of stores now occupy the site of the former Boston 
Theatre. 



RECOKD OF THE BOSTON STAGE. 397 



CHAPTER XXVIII. 

The National Theatre. — Its Origin. — Mr. Pelby. — The Warren 
Theatre. — The National Theatre. — J. B. Wright. — Thomas A. 
Cooper. — Miss Davenport. — Josh. Silsbee. — Miss Julia Dean. — 
McKean Buchanan. — F. S. Hill. — J. S. Jones. — Hamilton. — 
Wright, Fenno & Co., etc. etc. 

It is not our intention to give a detailed account of 
the National Theatre. The performances at times have 
been of that order in which the reader would feel little 
interest, and its history presents very few features of 
striking originality. 

In 1832, an amphitheatre was built on the site of the 
present National Theatre, by Jeremiah and Theodore 
Washburn, for William & Thomas L. Stewart, who 
were the owners, and it was opened by them as the 
" American Amphitheatre," on the 27th of February, 
in that year, for equestrian purposes. Performances 
were also given on a small stage, and " Victorine, or 
the Orphan of Paris," was performed, for the first time 
in this city, at that place. The Messrs. Stewarts were 
the proprietors of an equestrian company, and they 
desired a place in the city at which they might perform 
during three or four months, when the inclemency of the 
weather prevented them from making their customary 
country circuit. 

In the spring of 1832, Mr. Pelby returned from the 
South, cherishing the most hostile feelings against the 



398 RECORD OF THE BOSTON STA< 

Trcmont Theatre, its proprietors, and lessee, by whom. 
from caiix's already recorded, he deemed himself in- 
jured. His feelings were so worked up by some re- 
marks made by Mr. Dana, that, accompanied by a 

friend, ho called on Mr. Dana, for the purpoae of 
demanding an apology, or inflicting personal chastise- 
ment. Mr. Dana was fortunately not at home, and 
Mr. Pelby's friend then remonstrated with him upon 
his course of conduct, arguing that little good would be 

the result " I'll tell you what to do," .-aid he ; "hire 
the American Amphitheatre, and run the Tremont." 
The suggestion struck Mr. Pelby favorably, and he 
adopted it. 

Mr. Pelby was soon engaged in contracting for the 
lease of the Amphitheatre, and on the 12th day of May. 
1832, the articles of agreement were -igned between 
"William Pelby and Win. tV Thos. L. Stewart, for the 
lease of it for five years. The understanding was, that 
three months during the winter, the Stewarts should 
perform equestrian spectacles, and give performar 
in the ring; but this part of the contract was never 
fulfilled by Mr. Pelby, who, after the departure of 
the Stewarts, converted the place into a regular the- 
atre, adapted exclusively for dramatic performances. 
The Stewarts were subsequently unfortunate in busi- 
ness, and the establishment passed into Mr. Pelby's 
hands ; but had the Amphitheatre not been erected, it 
is more than probable that Mr. P. would have made his 
" fling for fame " in some other locality. 

We have anticipated, thus briefly, the commencement 
of Mr. Pelby's managerial career at the North End. 



RECORD OF THE BOSTON STAGE. 399 

The Amphitheatre once leased to him, he changed the 
name to the "Warren Theatre, and on the 3d of July. 
1832, opened it to the public, with " Victorine," and 
"The Spoiled Child," to an audience of $60.75. Mr. 
F. S. Hill was stage-manager till 1838. The company 
embraced Pelby, Wallace, F. S. Hill, J. S. Jones, J. 
Mills Brown, (who reappeared after an absence of four 
years,) Meer, Kent, and a host of others ; while in the 
female department were Miss Ophelia Pelby, (after- 
wards Mrs. Anderson, who died on the 25th of January, 
1852,) Mrs. Meer, Mrs. Nelson, Miss Bouquet, and 
others. Under the name of the Warren, Mr. Pelby 
conducted this house till 1836. During the four seasons, 
Messrs. T. D. Rice, (Jim Crow,) G. H. Hill, C, H. 
Eaton, John Barnes, J. B. Booth, W. R. Blake, J. R. 
Scott, W. G. Jones, (died June 20, 1853,) Coney and 
Blanchard, Mons. Gouffe, appeared as stars. In 1836, 
Mr. Pelby re-constructed the theatre, enlarged and 
otherwise improved it, and opened it on the 15th of 
August as the National Theatre, to an audience of 
$866. The theatre had, in fact, been rebuilt ; though, 
to avoid some difficulty with the city, the little Warren 
was only taken down little at a time, but very little of 
the original structure was left. Mr. W. H. Smith con- 
tinued as stage-manager, and Mr. J. B. Wright filled 
the important post of prompter. Mr. Wright com- 
menced his career as call-boy at the Tremont, and by 
his industry and attention to business rendered himself 
at the National one of the most useful members of that 
establishment. In his department, he has no superior 
in any theatre, and he has since, as stage-manager, 



400 KECORD OF THE BOSTON B I I 

evinced the most excellent tact and taste, by the very 
superior manner in which plays have been produced at 
this theatre. For many years, the National, under 
Pelhy, maintained a firm position, and gained the public 
suffrage to such an extent, that Mr. Pelhy could 1 
retired at one time in the possession of a large fortune. 
His companies were invariably good, and those popular 
favorites throughout the United State-. Messrs. W. F. 
John-on. T. P. Cunningham, Wyseman Marshall, Saun- 
ders, W. 11 Leman, Mr. and Mrs. ( J. P. Thorne, O. C. 
Darivage, Spear, Murdoch, Hunt, Gilbert, Andn 
and ho>ts of others, were constantly on the boards, and 
plays were ire<juently produced in a superior manner 
even to their production at the Trcmont. It would be 
tedious to record the progress made at this house, 
son after season, and we will therefore allude to some 
of the star engagements of note. 

On the 10th of September, 1838, Thomas A. Cooper, 
the veteran actor, after an absence of nearly six years, 
appeared at the National as >SVr William Dorillon, to 
his daughter's Miss Dorillon, in Mrs. Inchbald's comedy 
of " Wives as They Were." He had for many years 
been living in retirement at Bristol, Penn., and visited 
Boston for the purpose of taking a final leave of the 
Boston boards, and introducing his daughter. The 
engagement was not remarkable, and Cooper received 
but slight sympathy, for the many troubles brought 
upon himself by indulgence. His last night of perform- 
ance was on the 21st of September. The receipts of this 
engagement were as follows : — 



RECORD OF THE BOSTON STAGE. 401 

1838. Sept. 10, Wives as They Were, etc. . . $131 00 

" 11, Hunchback, 224 88 

" 12, Much Ado About Nothing, . . 65 00 

" 13, Damon and Pythias, ... 125 37 

" 14, Othello, 144 88 

" 17, Eule a Wife and Have a Wife, . . 165 38 

" 18, Much Ado About Nothing, . . 115 38 

" 19. Eule a Wife and Have a Wife, . . 91 87 

" 20, Damon and Pythias, . . . . 142 62 

" 21, Gamester, . . . . . 161 62 

§1,368 00 
Cooper in former years had, in a single night, attracted 
to the old house $1,100. 

On the 1st of October, 1838, Miss Jean Margaret 
Davenport made her first appearance before a Boston 
audience, as Richard III., and sustained three parts in 
a piece called " The Manager's Daughter," written by- 
Edward Lancaster, in which both Mr. and Mrs. Daven- 
port appeared. Miss Davenport was at that time stated 
to be " only eleven years of age," and was regarded, 
and justly too, as an infant phenomenon. She had 
already created a furore in England and in New York 
by her acting. By many she was deemed fully equal 
to Master Betty, in the best days of that prodigy, and 
far surpassed Burke. Her conception of Richard, Shy- 
loch, and other characters in the higher walks of the 
drama, was certainly astonishing, while her delivery 
was not the mere repetition of a parrot, but was sensible,, 
and evinced the talent of an artist. Her success was 
fair ; and inducements being held out by the public,, 
after the termination of her engagement at the National, 
her father leased the Lion Theatre, and for a few nights 
did wonders. We need not say, that Miss Davenport, 
then the prodigy, is now the talented actress, who of 
26 



402 RECORD OF TIIE BOSTON STAGS. 

late years has delighted thousands in this city by her 
admirable style of acting, and who, as the Countess, in 
"Love," Julia, in the "Hunchback," and Adrienne 
Leconrrr. lias left a lasting impression upon the minds 
of all patrons of the drama. Her father died in Cin- 
cinnati a few years since. He was a gentleman of 
education, and proved invaluable to his daughter's 
success, by his tact and discrimination. 

The receipts of Miss Davenport's first engagement 
in Boston, in ls.'iS, were as follows: — 

Oct. l, Richard III. Manager's Daughter, . $403 

j. Merchant of Venice, " ... 172 :>,7 1-2 

" 3, School for Scandal, . . . . 14G 12 1-2 

" 4, " " Four Mowbrays, . . 170 12 1-2 

" 5, Douglass. Spoiled Child, . . . 145 50 

. of Manchester. Old and Young, 287 62 1-2 

" 9, Dumb Boy, & <>f all Work, . 148 62 1-2 

" 10, " " Spoiled Child, . . ill oo 

" 11, " " " " 163 00 

" 12, Matteo Falcone, " . . . 204 50 

11,691 37 1-2 

Miss Davenport was then about thirteen years of age, 
and in the above plays performed Richard, Shylock, 
Sir Peter Teazle to Mrs. Davenport's Lady Teazle, 
Young Norval, and Little Pickle, in which she made 
her debut on the stage, and thus exhibited in a short 
time the versatility of her talent. 

Mrs. Fitzwilliam, J. B. Buckstone, TV. C. Macready, 
(in 1843,) Hackett, J. S. Silsbee, who has since ac- 
quired a great reputation abroad for his delineations of 
Yankee characters, and who first appeared on the stage 
in Cincinnati, in 1840, as Deuteronomy Dutiful, in a 
farce called the " Wool Dealer," Mr. Anderson, an ac- 



RECORD OF THE BOSTON STAGE. 403 

tor of the greatest merit, and the best Claude Melnotte 
we ever saw, Mrs. Hunt, afterwards Mrs. Mossop, 
whose espieglerie has turned the heads of more than 
one young man, and a host of others appeared, under 
the auspices of Manager Pelby — many of whom have 
already been alluded to in this record. On the 26th of 
October, 1846, Miss Julia Dean made her first appear- 
ance as Juliet. This young lady, a grand-daughter of 
Samuel Drake, one of the pioneers of the drama in 
the West, was born at Louisville, Kentucky, and her 
circuit has since been chiefly confined to the western 
theatres, though within two years past, she has appeared 
in New York and Philadelphia, with the most decided 
success. At the time she visited this city, her name 
was unknown in theatrical annals, and she was obliged 
to contend against the overpowering attractions of Mrs. 
Mowatt, Madame Augusta, George Vandenhoff and 
Davenport, at the Howard Athenaeum, and Mr. and 
Mrs. Kean at the Boston Theatre. Miss Dean is un- 
doubtedly the most promising young American actress 
on the stage, and a brilliant career awaits her. In 
many characters she is already unrivalled, and so well 
appreciated has she been wherever she appears, that a 
handsome fortune has been accumulated by her. 

Miss Kimberly made her debut at the National in 
1850, and McKean Buchanan first gave Bostonians a 
taste of his talent at this theatre. Graham, an Eng- 
lish tragedian, who subsequently died in St. Louis, also 
made his appearance here, and, lastly, Mrs. Sinclair 
attracted very fair houses, by her performances at this 
theatre. 

Mr. Pelby was very successful in his choice of stage- 



404 RECORD OF Till: BOSTON STA< 

managers. F. S. Hill waa bo( only competeafl to the 
discharge of his duties, but his literary qualification! 
were very respectable. He wrote the M Six 1 >- 
Criinc," and other pieces which drew money into Mr. 

Pelby'a treasury. Mr. W. II. Smith, by his thorough 
knowledge of stage business, gave efied to every pi 

that was produced. Mr. Smith, in making his arrange- 
ments with Mr. Pelby, was so Btrict in his articles of 
I i jm lit, that not even the manager WM allowed to 
cross the stage, iralesa by his permission. J. S. Jones 
was another invaluable man to Mr. Pelby, both on 
account of the talent he p0S84 Med tfl a playwright, and 
the sound ad\ ice he was able to impart in regard to 

bsjsincoo matters. Bis plays, too numerous to mention, 
were very popular. The " Surgeon," from his pen, 
drew crowded booses. Mr. Cartlitchwas also valuable 
in this capacity, and was succeeded by J. E. Murdoch, 
who was followed by M> 3srs. W. 11. Blake^Robert 
Hamilton, (a gentleman of fine literary attainments,) 
and by Thomas Barry, Esq. 

During an engagement at the National, Mr. James 
E. Murdoch brought out "Witchcraft," a tragedy in 
five acts, by Cornelius Mathews, which has been pub- 
lished in London, and translated into French ; an honor 
never before extended to any American work of the 
kind. It has received from the highest critical author- 
ity, in both countries, the warmest commendation. It 
was acted in Philadelphia, on its first presentation to 
the public, for four successive nights. Mr. Murdoch 
afterwards carried his manuscript play to Cincinnati, 
where it was received with unbounded applause. The 
press of that city spoke of it in unequivocal terms, and 






RECORD OF THE BOSTON STAGE. 405 

in this city it was received with flattering marks of 
approbation by the press and the public. 

Mr. Barry, after an absence of many years, took the 
management in 1848, and from that time till the present, 
the National has increased in the favor of the more 
respectable portion of the community. Mr. Barry "s 
reputation at once attracted to the theatre hundreds 
who for years had absented themselves from its 
door. Mr. Barry continued with Mr. Pelby during 
the season of 1349 : and Mr. Pelby having died, he 
med the acting and stage management for Mrs. 
Pelby till the expiration of the season of 1850-1. when 
he returned to New York, where he still lives, the 
accomplished and much respected manager of the 
Broadway. The season of 1851— 2, Mr. John B. 
gbt was acting and stage manager, and also joint 
lessee, under the title of "Wright. Fenno *.v. Bird. The 
house was in every respect worthy of patronage, while 
in charge of the firm : and the public appreciated the 
efforts made to cater for an enlightened communitv. 
Mr. Fenno. as treasurer and box-keeper, made many 
friends by his proverbial politeness and constant atten- 
tion to business, and every thing promised well ; but 
on the night of April 22. 1852, a fire broke out in the 
theatre, whether the result of accident, or the work of 
an incendiary, was never discovered, and in a few hours 
the entire building with all its contents was in flames. 
Mrs. C. N. Sinclair and Mr. Tandenhoff performed on 
the evening of the 21st in the '* School for Scandal," 
and the * ; Rough Diamond " was the after-piece. The 
play announced for the 22d was " Love's Sacrifice," 



406 RECORD OF THE BOSTON STAGE. 

which was performed, as we have stated, at the Boston 
Theatre. 

Thus briefly we have sketched the history of the 
National, the favorite resort of residents of the North 
End, who take considerable pride in " their theatre," 
as they term it. It proved, under Mr. Pelby'fl manage- 
ment, a formidable competitor to the Tremont, and its 
influence has otherwise been felt. The Btandavd of the 
theatre has been that of the second class, but it has 
occasionally asj) i red above "blue fire and mysterious 
music," and at times has been the theatre of Boston. 
Mr. Pelby both made and lost large sums in it during 
his career. 



CHAPTER XXIX. 

Proposals for a New Theatre. — The New National Theatre. — Lay- 
ing of the Corner Stone. — Mr. G. V. Brooke. — The Theatre 
lighted up. — The Opening Night. — Douglass Stewart. — Md'lle 
Palser. — New Fares. — Receipts. — Edwin Forrest's Engagement. 
— The Spanish Dancers. — The Company Reduced. — Leonard's 
Complimentary Benefit. — Presentation of Plate to Brooke, etc. etc. 

Immediately after the destruction of the National 
Theatre by fire, (22d April, 1852,) Mr. Joseph Leon- 
ard, the well-known auctioneer, published in the papers 
a notice, requesting gentlemen who were in favor of the 
erection of a new theatre, to walk into the hotels and 



RECORD OF THE BOSTON STAGE. 407 

subscribe for the stock, papers having been circulated 
for that purpose. The want of a capacious theatre had 
long been talked of; and as it was given out that the 
National would not be rebuilt, the time was deemed 
appropriate for agitating the subject. In this enterprise 
Mr, Leonard was joined by several of our leading 
citizens, and on the 28th of April, 1852, a meeting was 
called at the Revere House. From this meeting orig- 
inated the new theatre and opera house, now building 
on Mason Street. An unavoidable delay having taken 
place in the choice of a site of land, Mr. Leonard 
directed his attention to the new National Theatre, 
which was then talked of as among the things that were 
to be. On the 10th of May, 1852, he received the 
lease, contracts were made for building a theatre worth 
$45,000, exclusive of the land, which was taken on a 
lease, with the privilege of purchasing at an agreed 
price within a certain number of years. Messrs. Page 
& Jepson, master carpenters, with some few others, 
were principally interested in this project. The work 
was at once commenced, and on the 6th of July the 
corner stone was laid with appropriate ceremonies, 
William Dehon, Esq., delivering a most excellent 
address. A metallic box was deposited under the 
stone, containing rare coins, a specimen of California 
gold, theatre bills, a piece of the foundation of the 
Federal Street Theatre, copies of the newspapers of the 
day, and a parchment containing this record : — 



408 RECORD OF TIIE BOSTON STACK. 

NATIONAL THEATBE: 

Erected, August, 1836. 

Destroyed by Ore, April 22, 1852. 

-• Stone laid July 6th: Address by Wm. Dehon, Esq. 

Architects: Joseph F. Billings, Kred. C. Sleeper. 

* -,, f i' 1 ?' t!'-^ } Masons, 
Builders: T. F. M bidden, ' 

( Samuel Jepson, ; 

Lessee: Joseph Leonard. 

Acting and Stage Manager: John B. Wright. 

Assistant Stage Manager and Prompter: Henry Lc 

Treasurer: William Ellison. 

Box Keeper: Henry W. Pernio. 

It was the understanding that the theatre was to be 
ready for occupancy on the 1st of September, and with 
this impression Mr. Leonard at once went to work to 
secure a company. The qualifications of Mr. Leonard 
for managerial duties were but few. His associations 
with members of the theatrical profession, and his 
natural taste for dramatic entertainments, had imbued 
him with the belief that he should make a successful 
manager, and, with confidence in his own judgment, 
and a liberality entirely characteristic, he organized a 
corps for his new theatre, dating his engagements from 
the Cth of September. As that time approached, it was 
•evident that the theatre would not be ready for occu- 
pancy, and Mr. Leonard, in self-defence, was obliged 
to assist in finishing it. Many of the actors were 
receiving their salaries ; and an engagement having 
l)een made with G. V. Brooke for October, he came, 
and announced his readiness to fulfil his part of the 
engagement, but as the theatre was not finished, Mr. 
Leonard was obliged to compromise, and paid Mr. 
Brooke six hundred dollars forfeiture, and gave a new 



RECORD OF THE BOSTON STAGE. 409 

engagement for four weeks. This, with other sums 
paid out prior to the opening, reached the large sum of 
$4,100, — enough to cripple a man of greater means 
than Mr. Leonard, and a man with less heart would 
have yielded to this combination of disastrous circum- 
stances. Mr. James W. "Wallack was also engaged to 
appear, and when the time came the theatre was not 
opened. With that courtesy which has ever distin- 
guished him, he wrote to the management, regretting 
that circumstances were as they were, and concluded 
by saying, " when you want me, let me know." 

Although not finished, the theatre was announced to 
open on the 1st of November. The interior may be 
briefly described as containing a parquette, first tier of 
boxes on a level with the rear of the parquette, a second 
tier of boxes called the dress circle, and a gallery, with 
six private boxes. The first tier will hold 440 persons, 
the parquette 390, the second tier 600, and the gallery 
about 1000, making sitting room for 2,430. This is 
exclusive of room in the lobby. The stage is 76 feet 
wide and 6Q feet deep, and 29 feet between the wings 
or side scenes. The curtain is 40 feet wide and 38 feet 
high, and the whole theatre is 151 feet deep by 80 feet 
in width. A building, containing a large scene-room, 
and nearly all the dressing-rooms and green-rooms, is 
connected, being 50 feet in length and 17 feet in width. 
The conveniences behind the curtain are excellent and 
commodious. 

On Saturday evening, October 30, the theatre was 
lighted up, and a few of the personal friends of the 
manager were present, who partook of a collation, and 
witnessed Md'lle Palser's "first fling for fame." It 



410 RECORD OF THE BOSTON STACK. 

seemed an impossibility to open the theatre on 
Monday following, but by dint of constant labor, the 
interior was so far perfected that it was opened on 
Monday, the 1st of November, 1852, though some MX 
weeks elapsed before the theatre was finished, or rather 
patched up, — as, in our opinion, it is not finished yet. 
The opening bill was the " Heir at Law," an Original 
Address, by W. 0. Katon, spoken by W. M. Leman ; 
Polish Dance by Md'lle Falser and John Dobbs. A 
new act drop, called " Byron's Dream," was painted by 
J Lives, and the company embraced W. M. Fleming and 
wife, W. II. Curtis, Douglass Stewart, Mr. and Mrs. J. 
J. Prior, J. Munroe, Mr. and Mrs. Buxton, S. D. John- 
son, Aiken, Mrs. W. II. Smith, Mrs. Archbold, W. F. 
Johnson, Fanny Howard, Cornelia Jefferson, Bertha 
Lewis, Julia Pelby, Mrs. Vickery, (who made her 
first appearance as Blanca on the 5th of November,) 
R. Stilt, ballet master, and others. Of these a por- 
tion had been engaged by Mr. Leonard, and a few 
by Mr. Wright, stage-manager. Mr. Leonard was 
extremely liberal in his engagements, and paid a few 
most extravagant salaries. Md'lle Palser and Doug- 
lass Stewart were of foreign importation. It was 
anticipated that Douglass Stewart, who came highly 
recommended to Mr. Leonard, would prove a card. 
Some even predicted that William Warren, of the 
Museum, was to have a rival. His debut was as Dr. 
Pangloss, and poor enough it proved, but his apologists 
attributed the failure to the " natural embarrassment of 
the occasion." Unfortunately, Mr. Stewart never got 
over this embarrassment ; and Mr. Leonard, finding 
that the article was not up to " invoice value," a mutual 



RECORD OF THE BOSTON STAGE. 411 

agreement to separate, after a few weeks, took place. 
Md'lle Palser, from the English theatres, was well re- 
ceived, and proved quite popular, but was not of that 
value to the theatre which bore any proportion to her 
large salary. In person she was quite prepossessing, 
having youth, beauty, and a healthy development of 
form, while her style was modest, graceful, and fascinat- 
ing. Not called upon to make any great exertion, she 
evinced very little originality, and when she left for 
home, was far from being improved in her profession. 
Mrs. Archbold, once a great favorite in London, and 
subsequently popular at Dublin, was far indeed above 
mediocrity, and as the tart old women, or ladies of a 
doubtful age,, she is truly excellent. Mrs. Vickery 
assumed a position as a tragic actress, which she has 
since fully sustained. She has her peculiarities of pro- 
nunciation ; but where we can find one better actress, 
we can single out twenty far inferior. Mr. Fleming 
made his first appearance on the third night of the 
season as Richelieu, and during the star engagements 
has rendered very efficient service by his able support. 
Mrs. George Barrett commenced an engagement as 
Lady Teazle, and continued through J. W. Wallack's 
engagement, which commenced on the 2 2d of November. 
Mr. Wallack attracted to the theatre the most fashion- 
able houses, and astonished his oldest friends, those who 
recollected him thirty years ago, by his acting, which, 
in its artistic finish, seemed but little impaired by time. 
His benefit was attended by the fashion of the city, and 
being called out, he acquitted himself in a handsome 
manner, by speaking a good word for the management, 
a flattering notice of Brooke, and extended an invita- 



•112 



RECORD OP THE BOSTON STAGE. 



tion to all to visit him at Wallack's Theatre, in New 
York. 

Mr. G. V. Brooke, supported by Mrs. Barrett, com- 
menced on the Cth of December. The receipts during 



his engagement were as follows : 



1852. 



Dec. 6, 
" 7, 



10, 
18, 

14, 
15, 
16, 
17, 
20, 

21, 
M, 

23, 
24, 



Othello, .... 
The Wife, 

Othello, .... 

Merchant of Venice, 

Xrw Way to Pay Old Debts, 
Corsica!] Brothers, 



Richelieu, Mrs. Barrett's Benefit, 
. — Afternoon, Christmas, 
Oondcan Brothers, evening, 



$687 25 


317 25 


405 00 


335 50 


350 25 


594 00 


402 50 




443 75 


357 75 






305 25 


246 25 


317 00 


157 75 


400 00 



S6.526 75 

Christmas fell on Saturday, and an afternoon per- 
formance was given, and also an evening performance, 
which was, strictly speaking, contrary to law, though 
not without a precedent, though a single one, perform- 
ances having been given at the Tremont Theatre on a 
Saturday evening in 1840, to accommodate a large 
number of strangers then in town to attend the Bunker 
Hill Convention. Mr. Leonard made an effort about 
this time to have the law against dramatic performances 
on Saturday evening repealed, but after some discussion 
in the legislature, he and other petitioners had leave to 
withdraw. Mr. Brooke continued another week, and 



EECOKD OF THE BOSTON STAGE. 413 

received the support of the Misses Denins. The receipts 
were : — 

1852. Dec. 27, Hunchback, .... $335 50 

" 28, The Wife, 237 50 

" 29, Eichard HI., 449 00 

" 30, Stranger, 342 00 

" 31, OtheUo, 620 25 

$1,984 25 

On the occasion of the last representation of Othello, 
which drew a good house, Mr. Fleming played Othello, 
Mr. Brooke lago, Mrs. Barrett Desdemona, and Mrs. 
Vickery HJmeUa. Brooke was better as " Mine Ancient " 
than in the impersonation of the Moor, and the other 
characters being so efficiently sustained that the per- 
formance was truly a splendid piece of acting through- 
out. 

At the termination of Brooke's engagement, the 
theatre had been opened two months, at an expense of 
$9,200 per month, or $2,300 per week, which includes 
current expenses, new properties, scenery, etc. The 
gross receipts during the two months averaged $9,100 
per month, which, though apparently a loss of $100 per 
month, cannot be so considered, as a portion of the 
receipts went to stock the theatre. Had the theatre 
been properly stocked at the commencement, the receipts 
would have far exceeded the running expenses of the 
theatre. 

The next star engagement was with Edwin Forrest, 
the American tragedian, who received a clear half of 
the receipts. A man's talents are certainly worth all 
they will bring ; and we cannot blame Mr. Forrest for 
placing a high estimate on his own abilities, especially 



Ill RECORD OP THE BOSTON 

when we know that he ia the mos! attractive iter on 
the American stage, :in<l can, l>y his own individual 
powers, attract more people toa theatre than an j living 
ador. Mr. Forresl but recently closed at the Broad- 
way Theatre, New York, owing to Bpraining his ancle, 
after twenty-two consecutive performances* There are, 
however, but few managers who can afford to pay these 
terms, for many of Mr. Forrest's pieces require a .strong 
stock company. The receipts were very large: — 

1868. 



Jan 


10, 


Damon and Pythias, 






" 


11, 


Richelieu, . 


574 60 




.. 


12, 


Othello, . 


618 oo 




M 




iiu-, 






" 


14, 


Samlet, 


60] "i. 


2,788 25 


(1 
II 


17. 


hfetamora, . 


. *77 do 




U 


1". 




. 661 7.'» 




II 


20, 


"... 


020 7.". 




" 


21, 


41 ... 


(117 oo 


3,452 75 


u 


24, 


Gladiator, 


070 00 




" 


25, 


u 


. 0fi 




a 


26, 


ii 


. 




11 


27, 


" ... 


480 25 




II 


28, 


Othello, 


445 75 


2,780 75 


" 


Bl, 


Macbeth, . 


680 ir. 




Fel 


• 1, 


.luck Cade, 


5GH 00 




" 


2, 


ii ii 


542 50 




it 


3, 


II M 


387 75 




u 


4, 


Metamora, 


477 00 


2,566 00 


" 


7, 


Baxnlet, Benefit, . 




587 75 



$12,l0r, 60 

( )n the second night of this engagement, a curtain 
on the stage, in sight of the audience, took fire, and a 
regular stampede occurred. Mr. Forrest remained 
perfectly quiet, and, the fire being extinguished, the 



RECORD OF THE BOSTON STAGE. 415 

play continued. The great week of the engagement 
was that of Metamora, which, it will be observed, drew 
very nearly an average of seven hundred dollars nightly. 
The gross receipts were $12,165.50, which being divid- 
ed, left for the manager, as his portion of twenty-one 
nights, $6,082.75. The expenses of the company, too 
large and too expensive, were certainly $300 per night, 
by which it will be seen that Mr. Forrest's engagement 
put no money in the treasury. It would have done 
so, however, if the theatre had been managed with 
more tact, and an efficient working company had been 
engaged. 

In the month of February, the Spanish dancers came, 
This troupe was selected by James H. Hackett in Paris, 
and brought out to this country on speculation. Soto 
was the leading danseuse, and was by birth a Spanish 
woman, and in several of her dances evinced the natural 
vigor characteristic of Spain. Pougead ranked first in 
popular favor on the score of personal beauty, but 
Melisse was far the best danseuse of the troupe, pos- 
sessing a muscular strength which enabled her to 
execute the tours deforce with astonishing power ; but 
unfortunately she lacked beauty of facial feature. 
Lavigne was quite a pleasing dancer, and Drouet and 
Leeder answered very well to give numerical impor- 
tance to the troupe. Mons. Mege, the male dancer, 
was very good, and more noted as a posturer than a 
dancer. There was real artistic talent in this troupe, 
but not enough to give them powers of attraction in 
cities where better dances had often been seen ; and 
aware probably of this fact, and unwilling to " carry 
weight," their drapery was exceedingly scant and light, 



416 RECORD OF THE BOSTON STACK. 

not sufficient to merit the charge of immodesty, but 
enough to pique the curiosity of th." Busceptible. It wat 
daring thii month, about the 18th, that the guillotine 
was put in operation, and some fifteen of the company 

were discharged. They who were thus turned out 
without warning, very naturally uttered protestations 
against the management ; and though a lack of m< 
to pay so heavy a company seemed to compel recourse 
to BOme such step, a more conciliatory method of reduc- 
ing the expenses might have been resorted to. On the 
14th of March, James E. Murdoch and Miss Heron 
commenced an engagement ; and on the 21st, Miles' 
play of " De Soto" was brought out, in which Mr. 
Murdoch and Miss Heron received the support of 
Messrs. Fleming, Lcman, Curtis, Prior, and Mrs. 
Prior. The last scene represented a tableau of Powell's 
Burial of De Soto, which had a line effect. 

Early in March, a few personal friends of Mr. Leon- 
ard determined upon tendering him a grand compli- 
mentary benefit, and at once held meetings to make 
preparations. A large number of gentlemen loaned the 
use of names, and others, who sympathized with Mr. 
Leonard in his losses, came forward, and on the ICth 
the house was crowded by his friends. The perform- 
ances consisted of " Wine Works Wonders," in which 
Murdoch played Young Mirable ; the trial scene from 
the " Merchant of Venice," Shyloch, Fleming, Portia, 
Mrs. Melinda Jones ; the " Virginia Mummy," with T. 
D. Rice ; and the screen scene from the " School for 
Scandal, — Charles Surface, Murdoch ; Joseph Surface, 
Fleming ; Sir Peter Teazle, W. F. Johnson ; Lady 
Teazle, Mrs. George Barrett. The performances were 



RECORD OF THE BOSTON STAGE. 417 

excellent, especially the last scene from Sheridan's 
inimitable comedy. TTe doubt if the Boston public 
ever witnessed it in greater perfection. As a testimonial 
of personal friendship, this benefit was very proper ; as 
a complimentary benefit, it was simply ridiculous, for a 
complimentary benefit is generally tendered as a mark 
of respect to one who has achieved a triumph, and 
certainly Mr. Leonard had no laurels to boast of at that 
time. The actual amount of tickets sold, the prices 
having been raised, was about $900 worth. 

Another complimentary benefit followed this, which 
was tendered to Mrs. Pelby. Mrs. Pelby played Elvira, 
and Mrs. Thorne, who came on expressly from New 
York, Cora, in " Pizzaro," to a very excellent house. 
The " Princess and the Peacock," an operatic serio- 
tragic extravaganza, local in its hits, which was origin- 
ally performed at Mrs. W. H. Smith's benefit, was also 
given, and received with shouts of applause. It was 
the production of a couple of young gentlemen of this 
city, and proved very acceptable to the public. Palser 
also made her last appearance in America on this occa- 
sion. Messrs. Coney and Taylor and their dogs were 
the next attractions. They had exhausted their at- 
tractive powers at the Howard Athena?um previous to 
this. On the 11th of April, Mr. Lysander Thompson 
appeared, but the season had so far advanced that his 
claims were not acknowledged. Mr. Thompson made 
his first appearance in America at Burton's in New 
York. In his particular walk of the drama, that of 
impersonating the Yorkshireman and countryman, he is 
confessedly without an equal. The London Times once 
remarked of him : — 

27 



418 RECORD OF THE BOSTON STA- 

i> Nothing can surpass the excellence both of his 

Tyke and his Zckicl Homespun. They belong to that 

class of exquisite personation which criticism can 

scarcely do more than record. He comes on to the 
stage with a naivete so inimitable, and in effect SO irre- 
sistibly ludicrous, as to immediately take possession of, 
and establish himself with the audience. 

' With Bteady face, and sober, humorous mien, 
He trod the outline of the comic scene, 

The ykky man, in LOOK, in VOIOX, and aii:, 

Ami though upon the Btage, appeared do platsb. 1 

The manner in which Mr. Thompson makes up the 
personages he represents is almost sufficient to stamp 
him a man of genius. Throughout the whole of his 
performance then- i- not the least appearance of art — 
no straining after effect, no mannerism or stage trickery 
— but all is natural, and kept within the bounds of 
moderation. His dialect, action, and good-humored 
grin, are all in strict keeping with the character of the 
unsophisticated, artless countryman. In scenes of 
pathos and tenderness, he is equally as successful as in 
the comic and more bustling portion of his performance ; 
and he never offends by approaching to any thing like 
buffoonery or extravagance." 

The business was very bad, and an afternoon per- 
formance was given on the lGth, when the theatre was 
closed for the season. A few benefits were taken by 
the stock after this, and Mrs. Warner received " a com- 
plimentary." The entire company was discharged, 
including Mr. Wright, the stage-manager, and Mr. 
Fenno, the treasurer. On the 2d of May, the theatre 
was re-opened, with Mr. J. TF. Wallack, Jr., Mr. 



KECORD OF THE BOSTON STAGE. 419 

Fredericks, Mr. Dickinson, Miss Wyette, were engaged 
at the south, as members of the stock. Mr. Wallack 
brought out " Civilization," but it did not draw. 

On the 16th of May, G. V. Brooke again visited 
Boston, and performed an engagement at the National, 
taking a farewell of a Boston audience on the 27th, 
when, we see by the papers, that a service of plate was 
presented to Mr. Brooke by Mr. Fleming, in behalf of 
" a few of his many friends in Boston and Providence." 
Mr. Brooke is really too good an actor to resort to any 
means not strictly legitimate to advance his position. 

The result of the season has not been so successful 
as one could wish ; but the error lies with Mr. Leonard, 
who undertook what few men are capable of perform- 
ing, though no manager with years of experience could 
have stood up better under the accumulated load of 
troubles than he. His mistake was made at the outset, 
in omitting to have a time specified for the theatre to 
be finished, and his capital was partially used up in 
fitting up the theatre. The company was a most ex- 
travagant one, and worked badly together ; but as the 
darkest hour is just before daybreak, so we are inclined 
to believe that another season will redeem the past. 
Messrs. Leonard & Fleming have formed a partnership, 
and, properly conducted, the theatre will prove, as it 
has heretofore been considered, the best investment of 
capital for dramatic purposes in the United States. 



420 RECORD OF TIlE BOSTON STAGE. 



CHAPTER XXX 

The Linn Theatre. — The Opening. — Mr. Barryxnore. — The J< 
— The Golden Parmer. — Cooke's Company. — The Davenporti 

at the Lion. — Mechanics' Institute. — The Melodeoo, etc. etc. 

In the latter part of the year 1835, Mr. James Bay- 
mood and associates, of New York, purchased the 
estate in Washington Btreel known as the Lion Tavern, 
and at once commenced the erection of an amphitheatre, 
for equestrian and dramatic purposes. A large number 
of workmen were engaged, and bo rapid was the pro- 
gress ma le, that, as one of the papers of that day re- 
marked, "within a little month, or in about the same 
space of time that Hamlet's mother was married to his 
uncle, the edifice was completed and the bills were out 
for the opening of the Lion Theatre." The manage- 
ment, in December, 1835, offered a prize of $50, for 
the best opening address, and no fewer than forty-three 
poems were submitted. A competent committee, con- 
sisting of Grenville Mellen, Esq., Dr. J. V. C. Smith, 
and Isaac McLellen, Jr., Esq., were the umpires. The 
interior of the house was neatly arranged. A circle, 
for equestrian performances, occupied the usual place 
of the pit, directly in front of the stage, the pit extend- 
ing under the boxes, of which there were three tiers. 
The decorations, by Reinagle, were very neat. The 
opening night was Jan. 11, 1836, when Buckstone's 
" Open House," and " Law and the Lions," were the 
dramatic entertainments, with scenes in the circle, in 



RECORD OF THE BOSTON STAGE. 421 

which Buckley, T. Nathans, Robinson, Perez, Roine, 
Bryant, Wilmott, Dickinson, and J. Nathans, were the 
most prominent. Mr. E. C. Weeks was at the head of 
the establishment. Mr. Buckley was director of the 
equestrian department, and Mr. Barrymore of the corps 
dramatique, which comprised Messrs. Houpt, Herbert, 
Mestayer, Knapp, Durivage, and Mesdames Kent, 
Barrett, Mestayer, Eberle, Misses Monier, Hurley, 
Whittemore. 

The drop curtain, representing the passage of the 
Alps by Bonaparte, was painted by Mr. R. Jones. 
The address, written by T. M. Devon, as the author 
signed himself, was spoken by Miss Monier, a young 
lady of no remarkable force, but equal to any then at 
the Lion, which as a whole was a poor company. The 
first tragedian who trod the boards was Mr. Ingersoll, 
a native of Charlestown, then about twenty-two years 
of age, who created some sensation in Damon and 
Virginius. Mrs. Hamblin appeared, and " Zante," and 
the " Secret Mine," an equestrian melo-dramatic piece, 
was brought out, and to Mr. Barrymore's superior skill 
as a manager it was indebted for its popularity. The 
grand spectacle drama of " The Jewess," was produced 
at a great expense. Every attention was paid to 
scenic effect ; the costumes were made by that prince 
of costumers, Andrew Jackson Allen. The entire stud 
of horses, elephants, camels, and dromedaries, gave 
great effect to the procession. The leading parts were 
sustained as follows : 3Iordecai, Mr. Ingersoll ; Esther, 
Mrs. Hamblin; Vashiti, Mrs. Ingersoll. This play 
was not " The Jewess " which had been produced at 
the South with such effect, but the Book of Esther 



422 BBCORD Of Tin: boston 

dramatized* It was very popular. Mrs. Barrymore 
introduced a dance of children, who in their drilling 

ii- a foretaste of the Viennoiae Children, whil( 
an in.-t ructor Mrs. Ii. wai fully equal to Madame Wv 

keli," M Evan," and other equestrian piece-, were got 
up, and Mr. Barrymore wrote and produced a two-ad 
melo-drama, called u Lorvina of Tobolski," which was 
popular. Johnson, the clown, invariably kept the children 
in good humor, and the theatre waa well patronized. 
John Sei'ton brought out tin.- " Golden Parmer/' which 
had a great run. The first reason closed in April, I E 
when the equestrians Btarted on their Bummer excur- 
sions, through the country, commencing at Weymouth, 
and Messrs. [njgersoll and Hunt took a portion of the 
properties, Bcenery, etc.. to Providence, and there 
opened the Lion 'Theatre. 

The Lion Theatre was shortly after re-opened by 
Mr. Barrymore, and on .Monday evening, May 1G, '3G, 
Mr. J. 15. Booth appeared. It closed after Mr. Booth's 
engagement. In the summer of 183G, the old building 
in front of the theatre was pulled down, and the present 
stores erected. Alterations were also made in the in- 
terior. Mr. Smith superintended the decorations. Mr. 
Harrison, formerly of the Bowery, then just destroyed 
by fire, came on to take the acting management for the 
next season, which commenced Nov. 7, 183G. Mr. 
Colingbourn was stage-manager, and the whole was 
under the superintendence of Welch. The same style 
of entertainments was continued till April, when the 
theatre was closed, and the house and land were offered 
for sale or to let. In the month of June, Cooke's eques- 
trian company leased the Lion, and gave entertainments, 



RECORD OF THE BOSTON STAGE. 423 

the best of the kind we ever had in this city. The stud 
of horses was never surpassed, and many of them were 
unfortunately burnt at a fire in Philadelphia. Messrs. 
Houpt & Thorne next tried their hands at managing 
the Lion, and C. H. Eaton appeared, supported by Mr. 
and Mrs. Hield, but it was a brief season. 

The theatre was repeatedly offered for sale, and was 
closed for several months. The monetary panic had, in 
1837, a most disastrous effect upon the drama, and the- 
atrical performances of all descriptions. Mr. Davenport, 
father of Miss J. M. Davenport, leased the theatre in 
October, 1838. Miss Davenport had already appeared 
at the National, and she succeeded in attracting full 
and very select audiences to the Lion, during a brief 
season. Mr. John Redman finally became the pur- 
chaser of the theatre, and at once converted it into a 
concert and lecture hall. According to Dr. J. V. C. 
Smith, he christened his purchase the "Mechanics' 
Institute," and caused it to be cut in granite over the 
front door ; but when the Handel and Haydn Society 
leased it for their sacred oratorios, they covered this 
over with a sign, which designated it the Melodeon, by 
which name it was known. The first performance 
given by the Handel and Haydn Society was December 
29, 1839, when the " Messiah " was produced. Miscel- 
laneous concerts had previously been held there. On 
Sundays, the hall w^as occupied by a religious society, 
and week days was let to entertainments of a promiscu- 
ous character. 

In 1844, a Mr. Leander Rodney leased the Melodeon 
for a brief season, and converted it into a temporary 
theatre, when Mr. Macready and Miss Cushman ap- 



424 RECORD OF THE BOSTON 

peared, and attracted the mosl fashionable audieni 
Since then it hai been enlarged in the interior, and 
subsequently became the property of Mr. Eliphalet 
linker; ami on accounl of the fine acoustic qualities it 
possessed, iras selected by Jenny Lind, Sontag, Alboni, 
and other musical celebrities, for their entertainments. 
It has now passed, by purchase, into the bands of the 
"Boston Theatre and New Opera House Company." 



CHAPTER XXXI. 

The Howard Atheiuuuin. — W. 1". Johnson. — The Opening Com- 
pany. — Fas. II. Hackett — A Sketch of the Baron. — His Youthful 
Days. — The Seguins. — Mrs. Anna Cora Mowatt — A Sketch of 
Mrs. Mowatt. — Her Career as .—Edward Davenport, 

etc. etc. 

TnE Millerite excitement of 1843-4 reached its 
climax in the following year. The venerable Father 
Miller, finding that the day set apart by him for the 
closing up of all earthly affairs, did not result as he 
anticipated, entered into another calculation, and dis- 
covered a slight mistake of a few hundred or a few 
thousand years, we forget which. This announcement 
saddened the hearts of those who had given up all, and 
made preparation for immediate departure, and their 
place of worship in Howard Street, called the Taber- 
nacle, was soon afterwards deserted, and remained for 



RECORD OF THE BOSTON STAGE. 425 

a short time a miserable wooden monument, one story 
high, to the folly of Millerism. 

The want of a leading theatre, in a city where stran- 
gers were thrown upon their resources in the evening, 
was severely felt, for in the spring of 1845 the Boston 
Museum, and the National Theatre, were the only 
prominent places of public amusement. A small saloon, 
called Graham's Olympic, had a location in Court St., 
but three hundred persons would have given a "packed 
house," and the Boston Theatre had not then been re- 
opened. The Tabernacle, from its central position, 
seemed to offer a very excellent site for a theatre, and 
TV". F. Johnson, TV. L. Ayling, Thos. Ford, and Leon- 
ard Brayley, thought that it might with profit be con- 
verted into a temporary residence for Thespis and 
Melpomene. The Millerites were not particularly 
partial to theatrical, representations, and it was evident 
that some shrewdness must be exhibited in procuring 
the lease, lest they might think that De Foe's couplet, 

" Wherever God erects a house of prayer, 
The devil always builds a chapel there," 

was about to have a permanent realization. They were 
at first opposed to leasing it, on any account, but finally 
concluded a bargain and signed the lease ; and the 
mechanic's hammer, the artist's brush, and decorator's 
skill, were soon brought into requisition, and the ex- 
terior and interior soon underwent an important change. 
A handsome front was erected, painted to resemble 
free stone, with neat and convenient entrances. The 
floor descended from the entrance to the orchestra, with 
a pitch which secured an uninterrupted view of the 



12G RECORD OF Tin: BOSTON STA.< 

foot-lights to the most distant Beats, which were cush- 
ioned. The Boenic artists, Messrs. Jones and Curtis, 
gave to the Bcenie appointments a pleasant aspect, while 
the former exhibited his talent in an act drop, illustrative 
of the passage in u As Sou Like It," 

■• Bun, run, Orlando, carve <>n every tree 
The fair, the chaste, the unexpreisive she." 

The new theatre was called the Howard Athenaeum, 
and the following ladies and gentlemen were members 
of the regular stock company: — Mesdames Maeder, 
II. Cramer, W. L. Ayling, W. II. Chippendaje, C W. 
Hunt, Walcott, Judah, (i. Howard. Win. don.--, W. II. 
Smith, Hisses Drake. Booth, Mace, De Luce, Messrs. 
W. F. Johnson, W. L. Ayling, G. W. Jamieson, J. A. 
J. Neafie, A. .1. Phillips, I). Whiting, ('. II. Walcott, 
(i. Howard. Sullivan, Booth, Parker, Munroe, Russell, 
Binnie, Taylor, Davis, Jones, Adam-. Resor, Gilbert, 
and Master Fox. Mr. Meyrer was leader of the 
orchestra. 

The performances on the opening night, (Oct. 13, 
18 l">.) under the stage-management of Messrs. Johnson 
and Ayling. Messrs. Ford and Brayley attending to the 
business, consisted of an Opening Address, written by 
F. S. Hill, V><[., spoken by Mrs. Cramer, the " School 
for Scandal," and the " Day After the Wedding." The 
admittance to all parts of the house was 50 cents, and 
a numerous auditory gave the enterprise a substantial 
token of support on the first night. On the third night 
Mr. James H. Hackett appeared. As we have omitted 
any sketch of this gentleman, we will here supply the 
deficiency. 



RECORD OF THE BOSTON STAGE. 427 

James Henry Hackett was born in the city of New 
York on the loth of March, 1800. His father, Thos. 
G. Hackett, was a native of Holland, and emigrated to 
America in 1794, and died in 1803. The widow, with 
her only son, James Henry, retired to Jamaica, L. I., 
and in the Academy there young James acquired the 
rudiments of his education, and sufficient knowledge of 
the classics to obtain an entrance at Columbia College 
in New York, in 1812. He remained in college about 
two years, when he renounced his original intention of 
studying law, and entered the counting-house of one of 
his relatives.. In 1819, Mr. Hackett married Miss Lee 
Sugg, then a popular actress at the Park Theatre, New 
York, and retired to Utica, where he was engaged suc- 
cessfully in trade. In 1825, a desire to enter upon a 
wider field of speculation induced him to visit New 
York, where in a short time he found himself so em- 
barrassed, that he determined to accept the stage as a 
profession, having in early life had strong dramatic 
predilections, coupled with great cleverness as a mimic, 
and in March, 1826, he made his first appearance on 
any stage at the Park Theatre, N. Y., as Justice Wood- 
cock, in "Love in a Village." His success was equi- 
vocal for some time, but he finally made a hit as one of 
the Dromios, in the "Comedy of Errors.'* In 1826, 
he visited England, and in April, 1827, he was induced 
to try an experiment at Covent Garden, by introducing 
Yankee stories, and imitations of Kean, Maeready> etc., 
which was partially successful. In 1829, Mr. Hackett 
became lessee and manager of the Chatham and Bowery 
Theatres, but soon gave them up, and devo.ed his time 



12 s RECORD OF THE BOSTON 

to his profession, and to the production of hia original 
plays, " Rip Van Winkle." « Nimrod Wildfire," 

Mr. Hacketl had the honor of holding a correspond- 
ence with Hon. John QuioCJ Adams on the chain 
of Hamlet, in 1839. He differed somewhat from the 
u Sage of Qaincy," and thus concluded his letter, whicli 

was written in London: — "The only excuse I can 
offer you, for permitting my love, of the lubject to 
render me so diffuse, is, thai I, too, 'from boyhood, 1 
have been 'enthusiastic 1 in relation to this character, 
and have habituated myself for years to ponder over 
its points, as a miser would pore over his gold, collect- 
ing the earliest editions of this play, and searching the 
accumulated annotations of its numerous critics, many 
of whom, in attempting to explain, have often only 
mystified the meaning of a clear original text, by alter- 
ations, omissions, and substitutions, and shown them- 
selves i ignorant as vain,' and as wide of the author's de- 
sign, and as vexatious to every true lover of the bard, 
as must be some of the actors of our time, who exhibit 
to audiences seemingly ' capable of nothing but inex- 
plicable dumb show and noise,' ' a sort of conventional, 
stage-beau-ideal, destitute of that meditative and philo- 
sophic repose, which Shakspeare has made the leading 
feature of the character." 

Mr. Hackett has performed in London on many 
occasions, and, being the first Yankee comedian, at- 
tracted very good houses. His acting has considerable 
originality. It is related that he was performing Nim- 
rod Wildfire at the Park Theatre, in New York, whicli 
piece he concludes by a dance, and kicking over the 



RECORD OF THE BOSTON STAGE. 429 

tea things. He was applauded most vociferously, and 
repeated the dance, giving the tea set another shaking, 
with such effect that the insatiate monsters in the gallery 
wanted more crockery demolished, continuing their 
applause till Nimrod approached the footlights and 
said : " I should be most happy to repeat the dance, but 
I am out of breath, and, what is worse, the manager is 
out of cups and saucers ! " Of his right to the title of 
Baron, there can be no doubt; for in the London 
Court Journal of October 12th, 1839, we find the 
following : — 

Hackett. — Died, at New Orleans, U. S., on the 22d of August 
last, of yellow fever, Baron Hackett of Hackett' s Town, a native of 
Holland, whose ancestor emigrated from Ireland. He was an aid- 
de-camp to the Prince of Orange, and served with distinction in the 
French Army, particularly at the Battle of "Waterloo, and at the 
siege of Antwerp. The Baron of Hackett's Town was originally one 
of the Irish peerages that have become dormant, and the dignity 
devolves upon the cousin-german of the late Baron — Mr. Hackett, 
the American comedian, at present in London. 

The Baron, however, had the honor of the title. Mr. 
Hackett was manager with Niblo, of the Astor Place 
Opera House, at the time of the riots, caused by the 
troubles of Forrest and Macready. His last specula- 
tion was the bringing over of the French and Spanish 
dancers, who have recently appeared at the National 
and Howard. He was also the first manager of the 
Howard Athenseum, in this city, after it was re-built, 
and his late performances at that house of Sir John 
Falstaff, Monsieur Mallett, etc., are evidences of his 
talent as an actor. 

Mr. Hackett was succeeded by the Seguins, who 



-130 BECOBD OF THE BOSTON STAe 

brought out " Norma" for the first time, which we shall 

allude to more at length. 

On the 30th of November, Mrs. Anna Cora Mowatt, 

supported by Mr. Crisp, made her first appearance in 
this city on the stage, having read in public previous to 
this. She was supported by Mr. W. If. Crisp, and 
commenced her honorable career in this city as PcwUne, 
in the •' Lady of Lyons ; " Mr-, Judah, ln-r first appear- 
ance, as Madame DeechappeUet. Mrs. Mowatt subse- 
quently appeared in the " Honey Moon," "The AVife," 
u School for Scandal," u Romeo and .Juliet," and on the 
11 tli inst., brought out her own comedy of u Fashion," 
■which had had a run of three weeks in New York. 

The career of Mrs. Mowatt has been one of the most 
remarkable that the annals of the stage bears record of, 
and wc will briefly give an outline sketch of her bio- 
graphy. Anna Cora Ogden was born in Bordeaux, 
France, whither her father had removed from the 
United States for business purposes. Her mother was 
the grand-daughter of Francis Lewis, one of the signers 
of the Declaration of Independence. Anna was the 
tenth of fourteen children, and in an old chateau, where 
they resided, near Bordeaux, she first gave promise of 
the possession of histrionic talent, while performing on 
fete days and anniversaries, little plays which were cast 
to the strength of this numerous family. Unfortunate 
in business, Mr. Ogden returned to America, Anna 
being then six years of age, and the voyage w T as one of 
great severity. The vessel became a wreck, and one of 
her brothers was lost. The passengers and crew clung 
to the w r reck, and were rescued by a vessel bound to 



RECORD OF THE BOSTON STAGE. 431 

Havre. From that port a second departure was taken, 
and the family arrived in New York, where Anna 
received a most excellent education. Although the 
parents possessed no decided predilections for the stage, 
all the members had a taste and love of the stage, and 
private theatricals was the principal amusement of this 
very happy family, in which Anna took the lead, not 
only playing the heroines, but adapting pieces for the 
mimic stage. When Anna was but fourteen, Mr. 
Mowatt, a lawyer of wealth, became quite attached to 
her, and, after some years of attention, they were mar- 
ried, without the knowledge of her parents, who did 
not object to the match, but thought her youth a barrier 
to present marriage. Mrs. Mowatt subsequently visited 
Europe for the benefit of her health, accompanying a 
married sister, and while in Paris wrote a five-act play 
called the " Persian Slave," which was performed on 
her return home. Misfortune overtook her husband, 
and the fond wife resolved at once to exert herself for 
his advantage. She determined to give public readings. 
" For reasons," says an article in Howitt's Journal, 
published when Mrs. Mowatt appeared in England, 
" which every reader will perfectly appreciate, she felt 
she could not commence this new and public life in 
New York, where she had been known under circum- 
stances so totally different : she therefore selected Bos- 
ton, the most intellectual city of the Union, as the place 
of debut. Mrs. Mo watt's name was already known to 
the press, by a number of fugitive poems and tales con- 
tributed to magazines of the day, and she was warmly 
welcomed by the Boston public. The hall was filled to 
repletion, and when the delicate form of the debutante 



432 BE CORD OF THE BOSTON STA(.I . 

appeared on the platform, there was a murmur of sur- 
prise that bo fragile a bud had attempted bo arduous a 
mission." Her first reading was given at the Masonic 
Temple, on Thursday evening, October 28, 1841. She 
carried with her the heart of every listener, for she ex- 
hibited the most beautiful moral spectacle of which 
human nature is capable, that of a wife turning her 

accomplishments to account, to relieve the 
of her husband. Her youth and beauty, though Buffi- 
dent of themselves to command attention, were lost 
sight of when -he began to speak, and one had leisure 
only to regard the exquisite tones of her voice, as it 
gave utterance to her admirable conceptions of poetical 
genius. Her stay ill this city was brief, but the judg- 
ment then pronounced upon her abilities was final, for 
having passed through the ordeal of Boston criticism, and 
met with approval, she fearlessly went forth to fascinate 
by the loveliness of her person, and to captivate by the 
genuineness of her talent. Mrs. Mowatt had been in- 
duced to enter upon this career, in the hopes of saving 
her husband's estate from being sold, but the anxiety and 
the labor self-imposed proved too much for her feeble 
frame, and she was for some time seriously ill, and the 
homestead she cherished was sold. On her recovery, 
her husband became the principal partner in the pub- 
lishing business, and Mrs. Mowatt exerted the strength 
of her intellect to assist him. Under the name of Mrs. 
Helen Berkley, she wrote a series of very popular 
articles, and also brought out a novel called the Fortune 
Hunter, and collated and revised many books for her 
husband to publish, from which much money was made. 
Her husband was again unfortunate, when she turned 



RECORD OF THE BOSTON STAGE. 433 

her hand to another department of literature, and wrote 
" Fashion," a five-act play, the intention of which was 
to satirize the life of the parvenues of America. It was 
brought out at the Park in New York, and was well 
received, though a difference of opinion was entertained 
as to its merits. Edgar A. Poe remarked that its gen- 
eral tone was adopted from the " School for Scandal," 
to which it bore just such an affinity as the shell of a 
locust to the locust that tenants it, " as the spectrum of 
a Congreve Rocket to the Congreve Rocket itself." It 
possessed considerable merit as a composition, and 
was played in several theatres in the Union. Mrs. 
Mowatt finally concluded to adopt the profession, and 
made her debut at the Park Theatre in the fall of 1845, 
as Pauline in the " Lady of Lyons," and from that 
moment to the present her success has been brilliant. 
" The great charm of her acting," remarked Poe at that 
time, " is its naturalness. She looks, speaks, and moves, 
with a well-controlled impulsiveness, as different as can 
be conceived from" the customary rant and cant, the 
harsh conventionality of the stage." This is true of 
present style, which possesses in an eminent degree an 
ever varying freshness. She had made but little pre- 
paration for her new career. Mr. W. H. Crisp im- 
parted to her some general ideas, but the rest was 
nature's dictation. She shortly after her debut came 
to Boston, and, as we have stated, appeared at the 
Howard Athenaeum under the management of W. F. 
Johnson. To follow Mrs. Mowatt in her subsequent 
wanderings, would occupy more space than we can. 
devote. Her tour at the South was a dramatic triumph, 
which a veteran might have been proud of; and ia 
28 



!•'! 1 RECORD OF THE BOSTON STA G 

every city she left such a favorable impression, that her 
more recent visits have invariably attracted good houses, 
and rendered her, excepting Forrest, the most attractive 
star of the day. In 1847, Mrs. Mo watt brought out 
her most popular play of " Armand, or the Child of 
the People," — which was produced in New York and 
Boston, just prior to her departure for Europe, which 
took place on the 1st of November from Boston. Her 
career in Europe was every way successful, and she 
gained not only the applause due to talent, but the 
friendship and esteem of many who bestowed their 
admiration upon one who was so justly entitled to it. 
She was accompanied by Mr. Edward Davenport, a 
ton boy, who has reflected credit upon the city of 
his birth, by his theatrical BQCOei 

Mr& Mowatt. while in England, had the misfortune 
to lose her husband, and passed the early months of 
widowhood in retirement, and after an absence of four 
years returned to America, in improved health, once 
more to delight her friends, whose name is legion. 
Report now has it, that Mrs. Mowatt is shortly to be 
married to Mr. Ritchie, of Richmond, and will leave 
the stage. However much we might rejoice at this 
union, the public will regret it, for it removes from them 
an actress whose presence is ever welcome, and who 
had, when an accident befell her in the month of March, 
1852, by being thrown from her horse in this city, an 
opportunity of knowing in what esteem she is held by 
our residents. 



RECORD OF THE BOSTON STAGE. 435 



CHAPTER XXXII. 

The Seguins in Norma. — First Production of that Piece. — Mr. and 
Mrs. Charles Kean. — Mr. Stark, Dyott, Mr. Murdoch, Miss Fanny- 
Jones, Miss Mary Ann Lee. — The Seguins, and the " Bohemian 
Girl," etc. etc. 

We have already noticed the career of the Seguins in 
our city from its commencement in November, 1838, to 
its de facto termination in 1847. Under the skilful man- 
agement of Mrs. Seguin and her indefatigable exertions, 
the popularity acquired for English versions of Italian, 
French, and German opera by "The Woods," Mrs. 
Austin, Miss Hughes, Phillips, and other brilliant 
singers, remained intact, until mock turtle went out of 
fashion, as the genuine article became known by Marti's 
excellent company. The most successful and brilliant 
English opera season in this city after the days of " The 
Woods," commenced at the old Tabernacle, or Howard 
Athenaeum, by grace of a lively imagination, on the 
27th of October, 1845. when the since world famous 
opera " Norma " was for the first time performed here 
in English version. Seguin was the Oroveso ; his wife, 
the Druid Priestess ; Fraser, the Roman Proconsul ; 
and Mrs. Maeder, the gentle Adalgisa. The opera 
took well, and was given five times to full houses. For 
the closing night of this brief engagement, selections 
were given from the " Bohemian Girl," " La Sonnam- 
bula," " Cinderella," " Fra Diavolo," "Amilie," "The 
Mountain Sylph," " Niobe," and " Guy Mannering," It 



13G RECORD OF THE BOSTON STA< 

or 1504 attended each 

night that u Norm rformed, and the principals 

gfied expectation well in that most trying opera. 
Lenta tit the South enforced a close of this brief 
and proeperons season, bnt a promise to return fur a 
1 < > 1 1 lt Bojonrn here relieved <>p- from a _ 

weight of sorrow when the Seguin company left Boston 
that winter. 

Mr. and Mrs. Charles Kean appeared in November, 
and during their engagement the companj was strength- 
ened by the appearance of Mr. Dyott, and Mr. Stark, 
who came to Boston from the Provinces. lie was B 
member of the elocution class of the Lyceum, and dis- 
tinguish! il himself by his impersonations of* Shyl 
and under Mr. Murdoch made great progress. lie 
BObeeqnently appeared at the National, and then visited 
Europe. It was on his return that lie joined the How- 
ard company, and supported Mrs. Mouatt and the 
Keans. Of 1 b he has been in California, and 

at the present writing is on his way to Australia. 

There was some little feeling manifested at the rais- 
ing of prices from 50 cts. to $1.00 during the Keans' 
engagement, but the Boston public wisely concluded 
not to raise any row, but to allow those who were 
willing to pay the dollar to visit the theatre, and those 
" contrary minded " to remain at home, the only wise 
plan in this enlightened age. The managers gave the 
Keans a clear half, and were obliged to take this course. 
The Keans at first did not do well, but the houses 
gradually improved, as many desired to take a farewell 
of the once charming Ellen Tree, and others to behold 
one of whom report had told so flattering a tale. The 



RECORD OF THE BOSTON STAGE. 437 

poorest house they played to was on Thanksgiving 
evening, but Mr. Kean very generously gave up to the 
management his share of the receipts. 

Mr. Murdoch succeeded the Keans, and was followed 
by Miss Mary Ann Lee, the danseuse, who was sup- 
ported by George W. Smyth. A more graceful dan- 
seuse than Miss Lee has rarely been on our boards. 
Her style was similar to that of Blangy, and, possessing 
a beautiful face, she captivated many susceptible young 
Bostonians. On the night of a complimentary benefit, 
she appeared in " One Hour, or the Carnival Ball," and 
gave evidence of the possession of vocal talent. During 
Miss Lee's engagement, a complimentary benefit was 
given to Miss Fanny Jones, (Jan. 7, 1846,) who danced 
a ball-room polka with Mrs. Hunt, and several fancy 
dances, her last appearance on the stage. 

On the 12th of January, 1846, the Seguins according 
to contract returned, and commenced with Balfe's 
popular " Bohemian Girl ; " a run which no other com- 
pany ever attained, the engagement being extended 
by renewals to February 16th. Operatic performances 
were given in this long interval five times a week, and 
generally a concert in which the principals were engaged 
was given Saturday evening. 

The "Bohemian Girl" took well, as in that Mrs. 
Seguin had a part suited to develop her best talent, 
Seguin ample scope for drollery, and Frazer his best 
songs. Delavanti was rather stiff in action, but his 
voice has rarely been equalled upon our lyric stage, 
and he still occupies, in English opera, where it finds its 
last abiding place, the provincial towns of old England, 
a good position. The gems of this opera were soon the 



438 RECORD OF THE BOSTON STA< 

rage in saloons, and ground upon organs, or hummed in 
the Streets. u I dreamt that I dwelt in marble halls"' 
absolutely possessed, as with an enchanter's spell, the 
female population of this vicinity, and that was the all- 
engrossing idea of amateur singers. In a large party 
given during this excitement, request was made for a 
song, and the ladies present being interrogated U to 
their repertoire, eaeh and all responded "I dreamt." 

That excess of popularity did not, however, long 
endure, and Mrs. Seguin found it at last voted de trop, 
both in the concert room and in character. u Come 
with the Gipsey Bride," " The fair land of Poland," 
and k " You'll remember me,*' yet retain a good measure 
of popular regard, and would even now find a response 
in the general pulse. " La Sonnambula," " Fra Dia- 
volo," -'The Elixir of Love," " The Postillion of Lon- 
jumeau," « Cinderella," •• Masaniello," -Norma," "The 
Marriage of Figaro," " Rob Roy," and " Olympic 
Revels," were afterwards presented. "FraDiavolo" 
and "The Postillion " gave Seguin fine opportunity to 
show off his redundant vis-comica, and most thoroughly 
did he improve the chance. In the former his mimicry 
and spirited action gave color and life to the opera, and 
in the " Postillion " he was essential to a successful 
performance, as the song " A Primo Basso, Sir, am I," 
never failed to bring down the house, though he did not 
always get down to double G, as pretended. 

Beside the versatility and clever singing of Mrs. 
Seguin, who seemed competent to every style of music, 
and united to good action a pleasing voice and prepos- 
sessing appearance to please the public, the sweet and 
mellow tenor of Frazer had, despite his habit of singing 



RECORD OF THE BOSTON STAGE. 439 

false, and never reaching quite up to pitch, attraction 
for the masses. Without her aid he was nothing, but 
sustained and kept up by a well trained and instructed 
director, he was not the worst tenor who has taken first 
business here. The aid given by Mrs. Maeder was 
material in good execution of her music, and "W. F. 
Johnson supplied a good Marquis for the Postillion, so 
far as the action and by-play were concerned. 

Supported by a good chorus and fair orchestra, the 
Seguins brought out their operas in so taking a style, 
that for six weeks crowds were attracted into a crazy 
old building which leaked at every thaw or hard shower, 
and was deemed by many liable to fall upon the multi- 
tude at any moment from very weakness of construc- 
tion. 

So potent was the spell that bound old Boston to 
English opera then, that almost every performance had 
a good house, and many were honored with overflows. 
Two benefits were awarded to Mrs. Seguin, and both 
had 1400 auditors within the walls, beside many hun- 
dreds unable to obtain admission, that remained upon 
the side-walks content with catching a strain at intervals. 

Mrs. Maeder's benefit closed this long season, and 
witnessed the last honors paid to English opera and the 
Seguins. They came again, and tried to overcome the 
attraction of Italian opera, but Marti's company made 
all lesser lights dim, and now that genuine opera was 
known and its charm felt, all farther struggle to a com- 
petition only aggravated damaging contrast, and gave 
poignancy to regret over lost attraction by severe 
pecuniary inflictions in reminder of an unpleasant fact. 

Mr. Johnson, towards the close of the Seguins' en- 



440 i; I. CORD OF THE BOSTON MA 

gagement, sold out hie interest, and it is :i little singular 
that the notes received, while in possession of a third 
party, were stolen on the re-opening of the new Atln- 
naiini, from the pocket, and a law suit in conseqn 

resulted in both parties being allowed to pay their own 
costs, and retire in disgust 

John Brougham played a brief engagement, when 
the benefits of the members of the stock commenced. 
The name of A. J. Phillips, one of the members, was 
up for a benefit on the evening of February 25, 184C, 
and u Pizarro " was performed, the part of Rullaby 
John Sheridan, the well-known professor of the art of 
self-defence, who volunteered for the occasion. The 
performances closed without any incident worthy of 
note, and the building had been vacated about twenty 
minutes, when a fire broke out in the rear of the stage, 
and so combustible was the tenement, that in less than 
ten minutes it was enveloped in flames, and in half an 
hour, scenery, wardrobe, properties, every thing was 
consumed. 

The property had just previous to this been purchased 
of Dr. Walker, in the name of Ford & Bray ley, and 
the former had, previous to the closing of the theatre, 
visited e\Qvy part and left all apparently safe. The 
cause of the fire was never satisfactorily known, but 
we remember wdiile looking at the ruins *he following 
morning, to have heard one of the supernumeraries 
-observe to another, that say what they might, about its 
being the work of an incendiary, he believed that if it 
had n't have been for that fire from heaven in " Pizarro," 
the place w r ould still be standing. It is possible that a 
•spark may have concealed itself in the scenery, which 



RECORD OF THE BOSTON" STAGE. 441 

afterwards burst out into a flame. The actors lost their 
wardrobes, which were suddenly discovered to be of 
very great value ; but their losses were made good, by 
benefits given subsequently at the Melodeon and else- 
where. The orchestra lost their instruments, and a con- 
cert for their relief was given by the Boston Academy 
of Music. 

The fire communicated to the stable of Mr. Read, in 
the rear, and to the houses of Dr. Jackson and Mr. 
Peabody on Somerset Street, all of which sustained 
damage, and but for the activity of the firemen, must 
have fallen in the flames. 



CHAPTER XXXIII. 

The Howard Athenasum. — Opening Night. — Introduction of William 
Warren. — Blangy. — The Viennoise Children. — Marti's celebrated 
Havana Opera Company. — Tedesco. — Incident in her Life. — 
Signor Perelli, ete. etc. 

After the destruction of the Tabernacle by fire, the 
land remained unimproved for some time, various pro- 
jects being agitated. The want of a first-class theatre 
was talked of, but capitalists had learned, from past 
experience, that if one was to be built, it must be on a 
larger scale than the dimensions of the lot would allow. 
Messrs. Boyd & Beard, however, required at that time 
a central and spacious depot for the manufacture and 



442 



RECORD OF THE 110STON STAGE. 



sale of their beers, alt-, and mineral water, and With 
the lanstance of others, the land was purchased, and it 
was determined to build a theatre, Messrs. Boyd & 
Beard referring the basement as a manufactory. 

On the 1th of duly, 184G, the corner stone of the 
present Howard Athenarom was laid, on which occasion 

Hon. I. N. Wright delivered a short address, and a 
collation was partaken of at the Pemberton House. 
Isaiah Rogers, Esq., was the architect, and the front of 
granite waa erected by Messrs. Standish & Woodbury 
in thirty-two days after the corner-stone was laid, and 
on the 5th of October the interior was sufficiently ad- 
vanced to permit its opening, under the direction of 
Janus H. Hacketl & Co., and the stage management of 
W. II. Chippendale. The performances on the open- 
ing night brought to the footlights the entire strength 
of the company, consisting of an Opening Address, 
delivered by George Yandenhoff, the " Rivals," with 
the following effective support 



Sir Anthony Absolute, 
Captain Absolute, 

Sir Lucius O'Trigger, 
Bob Acre-, 
Falkland, 
Pag, 

David, 
Lydia Languish, 
Julia. 

Mrs. Malaprop, . 
Lucy, 
Maid, 



Mr. Chippendale. 
Mr. J. H. Hall. 
Mr. Wm. Warren. 
Mr. (' 

Mr. Ayling. 
Mr. Bradshaw. 
Mr. Saunders. 

Miss Mary Taylor. 

Miss Maywood. 

Mrs. Maywood. 

Miss Hildreth. 

Mrs. Stone. 



This was followed by the musical burletta of the 
"Chaste Salute:"— 



KECORD OF THE BOSTON STAGE. 443 

Darville, . Mr. H. Hunt. 

Thibaut, . . . . . . Mr. Chippendale. 

Philippe, Mr. Saunders. 

Baroness, Mrs. Maywood. 

Madame Thibaut, ....... Miss M. Taylor. 

Sophia, Miss Phillips. 

The prices of admission were, parquette boxes, $1 ; 
parquette and dress circle, 75 cents ; boxes, 50 cents ; 
second circle, 25 cents. These prices were subsequently 
changed, and the tariff now used adopted. 

It was on this occasion that Mr. William Warren, 
now of the Boston Museum, first made his appearance 
in this city, as Sir Lucius O Trigger. No actor ever 
won the approbation of a Boston audience more rapidly 
than Mr. Warren, and no actor is held in higher estima- 
tion at the present day than he. The season continued 
until the 27th of February, and was marked by the 
appearance of Md'lle Blangy, (who brought out " La 
Giselle " in good style, assisted by Mons. Hazard,) Mrs. 
Mowatt, Davenport, Madame Augusta, Mr. Collins, the 
Irish comedian, Camilla Sivori, Booth, and Ciocca. 
" Guy Mannering " was brought out in December with 
fine effect. Abel Sampson, Chippendale ; Dandie Din- 
mont, Warren ; Julia Mannering, Miss Mary Taylor ; 
Lucy Bertram, Miss Phillips, now Mrs. Conover ; Meg 
Merrilles, Mrs. Crisp. Hackett appeared, and George 
Vandenhoff introduced a recitation of Collins' Ode to 
the Passions, with orchestral accompaniment, which 
was very effective. The crowning achievement of the 
season, however, was the visit of the Viennoise Dancers, 
who made their first appearance on the 11th of January, 
1847, and continued till the close, filling the treasury 
beyond any attraction since offered. 



•Mi RECORD Off THE BOSTON STA' 

Mr. Haekett left with the Viennoise Children, and 
the theatre passed into the hand- of his partner, Thos. 
F«»nl. who leased it for a brief season to Bands, L< 
Co., for circus performances, who were succeeded on 
the 23d of April, L847, by the opera company. 

It was on this occasion that Boston first recognized 
genuine Italian Opera in the performance of Verdi's 
"Ernani," by a complete, fully organized company, 
known to fame as the Havana Opera Troupe, formed 
by Marti, purveyor of ash, and proprietor of the great 
Taoon Theatre. 

iperb orchestra led by Arditi and the superlative 
COntrabassist Botesini, with a good chorus and principals 

of extraordinary merit, presented Verdi's best opera in 
a style that absolutely electrified the audience. All the 

recollections of English opera were effaced by this life- 
breathing, passionate, and effective performance, and 

from that hour a new ideal of excellence in operatic 
affaire became fixed and irrevocable. Such a combina- 
tion of brilliancy, effect, and vigor, with the sentimental 
and tender, had never before revealed itself upon the 
Boston lyric stage, and the excitement produced by 
this new sensation was commensurate w T ith the marvels 
that produced it. 

The opera itself was interesting from a wild and 
romantic plot, worked up in a good libretto, and that 
innate beauty had been most effectively treated by the 
composer. 

So masterly was the orchestration and the introduc- 
tion of novel, yet most pleasing combinations, modula- 
tions, and octaves, with an exquisite skill in use of solo 
talent in aid of a masterly conceived partition, that, 



RECORD OF THE BOSTON STAGE. 445 

strong as prejudice had been against its composer, this 
opera instantly commanded admiration, disarmed pre- 
judice, and gave Yerdi universal popularity. 

In this debut of a new composer and first hearing of 
Italian Opera, all the essentials to a great success were 
found, and it would be difficult to decide whether Verdi, 
the orchestra and chorus, or the principal singers, re- 
ceived the majority of votes from a public well-nigh 
frenzied with delight. 

The .remarkable personal beauty of Tedesco, and her 
rich, voluptuous, and easily produced volume of voice, 
probably excited more enthusiasm than any other item 
of this grand tableau. That vocalist, strange as it might 
seem to American gallantry, commenced her operatic 
career with a terrible experience of Italian rudeness. 
Her father being of that hated race who hold Lombardy 
in bitter subjection, the fair debutante found the audi- 
ence of La Scala quite willing to make her the scape- 
goat for an unpopular composer, and hissed, brayed, 
and hooted at Fortunata for a mortal hour, on the night 
of her debut in " Saul." The agent of Marti, on the 
qui vive for novelty, engaged and shipped to Havana 
the rejected of Milan, with confident expectation that 
she would attract the gallant Habanese in crowds to 
Marti's operatic temple. She did move Havana as if 
by the lever of Archimedes, her person and voice both 
possessing a potent spell. Her benefit realized $8,000, 
and ingenuity was tasked for new floral or poetic honors 
to such a ravishing prima donna. 

Boston scarcely equalled Havana in those respects, 
but the delicious quality of her voice, its graceful pro- 
duction, and the flood of melody she could pour out in 



-14G I OKD OF THE BOSTON 8TA' 

all the ease and freedom of a mocking-bird, overcame 
d Puritan reserve. The admiration she excited on 
her fir-t appearance was intense, and not until a trifling 
unladylike deportment became a habit, did the hold 
upon a Boston public then acquired lose its power, and 
finally become aversion. 

The character of Ernani was sustained by a tenor 
not then celebrated, but his pure, flexible, and expres- 
sive voice in Mi famous after the first proof 
that he possessed in rare abundance perfection of voice, 
Style, and method. 

Sis anisens with the soprano were exquisite, and in 
the duet. ,; Ah ! inorirr," enchantment held the audience 
breathless in delight. The wonderful unison finale, 
"O ! Carlo laagno," brought Tedeseo and Perelli fully 
out in their cleat and pure sustenance of the climax, 
giving a zest and charm to its full, rich harmony, which 
never failed to excite a furore. Novelli and Vita, the 
basso and baritono, were also excellent, giving a full 
support to all the concerted pieces in which they par- 
ticipated, and in solo their good quality of tone, purity 
of intonation, and finished school, were remarked with 
satisfaction. The vocalization of Tedeseo, Perelli, No- 
velli, and Vita, left no room for any other feeling than 
delighted admiration, the natural beauty of voice and 
finished elegance of a good school, with true Italian 
warmth, appearing in graceful perfection. They were 
not, however, actors, or competent to a faithful imper- 
sonation of character, and but very few vocalists ever 
pretend to be. In the blaze of enthusiasm, and nearly 
frantic delight that " Ernani " awakened here, this defect 
had but slight consideration, and the run then com- 



RECORD OF THE BOSTON STAGE. 447 

menced had, with occasional relapses, a continuance until 
June 6th, when the first season closed with a perform- 
ance of " Moses in Egypt," at the Melodeon, before the 
largest audience ever assembled there, 1637 tickets 
being taken. In this long interval several phases of 
popular feeling were observed, as the opera and prin- 
cipal singers chanced to be more or less attractive. 
" Linda di Chamouni " introduced Caranti Vita, a pure 
soprano of little timbre and unpleasantly tremulous, 
but endowed with a most prepossessing person. It did 
not take well, and gave place to Pacini's " Saffo," which, 
by the popularity of Tedesco and the lovely contralto 
of Sofie Marini, convulsed the city as " Ernani " had 
done. The duet for soprano and contralto is charming 
in itself, but given as they gave it, with a perfect blend- 
ing and fusion of voice and soul, few could resist the 
potent spell. "I due Foscari" was brought forward 
next for Rainieri, a soprano sfogato of exquisite finish 
and smoothness in execution. She had a gratifying 
reception, and her vocalization excited applause in 
almost Tedescan abundance. The opera was, however, 
too horrible, and the music too sombre, for general 
audiences, so it failed of sensation. " Romeo and Juliet," 
as the operatic version of two composers, next attracted 
crowds, the fair Tedesco appearing in martial dress, with 
a preposterous long tunic and sword of immense length, 
to fulminate " La tremenda ultrice spade," and make 
love to gentle Juliet in the person of Caranti Vita. The 
representative of Romeo was evidently hampered with 
her virile habiliments, and obtained less favor than in 
either of her two preceding operas. In the bravura 
and duet with Caranti, she gained hearty applause. 



11* RECORD OF THE BO- 

The admirers of ('aranti now took courage as she 
gained confidence and developed the beauty of a fine 
soprano, and even ventured to question the supremacy 
of Tedesco. 

Greal things had been said of the primo tenore in 
advance of his debut, and extravagant anticipations 
formed. When Severi appeared, however, it was evi- 
dent that his voice vras nearly gone, and though he got, 
by spasmodic and fitful effort, a chance note or two 
fraught with expression and good tune, he never could 
SUStain the high rank of first tenor in such a company. 
1T<- made a lilt, in the death scene of " I Lombardi," but 
Perelli's throne remained unshaken, and the masses 
paid him allegiance. 

Rossini's great opera, u Moses in Egypt/' was per- 
formed first as a concert, and witli immense effect upon 
a crowded house, as the choral execution surpassed all 
idca< of excellence suggested by our sacred music 
associations. Tedesco and PerelK were enchanting in 
their soul-fraught and voice-blending duet, and Rainieri 
gave the queen's solo, "Ah, d' un afllita," with such 
perfection as to eclipse any previous union here of 
perfect execution with feeling and expression of the 
deepest emotion. 

u Norma," with Tedesco and Rainieri, revived the 
furore, and raised premiums to a high pitch, the receipts 
on each night of its performance exceeding $1,300. 

The auctioneer was early invoked to aid in distribut- 
ing chances for the rich musical lottery, presented by 
the Havana company, and premiums frequently ran to 
a ridiculous excess. Parquette seats in the " Ernani " 
soon went up to $1.50 and $1.75 advance on the original 



RECORD OF THE BOSTON STAGE. 449 

50 cents; and in some other instances, when Tedesco 
appeared, the seats commanded $4 to $5 premium. 
Two great public houses were then intrusted with or- 
ders for boxes and seats, and their competition in trade 
gave an impetus to the bidding. The concerts given 
on Saturday nights were not fully attended, custom 
indicating the Melodeon or Tremont Temple for such 
performances. Botesini, however, astonished the musi- 
cians by his converting a three stringed double bass 
into a violin, and the prodigies of execution he brought 
from an instrument so unwieldy to others. In the 
orchestra he bore up and sustained the whole mass of 
harmony, and proved himself a match for any four 
players in the body of tone and effect produced ; but in 
the exhibition of his- solo talent, those who marvelled at 
his orchestral exploits, were obliged to confess Paganini 
had one equal. 

The pecuniary result of this first season was a net 
profit of $12,000, and the honors paid to Fortunata 
Tedesco attained their greatest excess in the casting at 
her feet of a warm admirer's hat and cane, in token of 
his own entire prostration. 

This company returned in September, but their re- 
ception lacked much of the warmth and intensity so 
remarkable in the first visit. 

Novelty no longer attracted the curious and those 
eager for a new sensation, while the confidence of con- 
trol over their audience betrayed the singers into levity 
and indifferent treatment of the music intrusted to them, 
29 



160 i:i .< <>Ki) OF Tin: BOSTON E 



( II A PTEB XXXIV. 

Duatkm of the Howard Athenaeum. — Madame p. — 

Elite BiscaeciantL — Truffi. — Fancy Balls. — \V. ('. Macready. — 
Maurice Power. — Bateman Children. — Charlei II. Thome.— 
Margaret Davenport — H. W. Finn. — Operas. — Baker & English. 
C.I). Pitt. — Mrs. Mowatt — Forrest. — Miss Laura Addison. — 
Mr-. Warner. — Madame Thillon. — Lola Montes. — The s. :i -<,n of 
1863 . - Hanry Willanl.— Mi-- Fitzpatrick.— AlbonL— Sontag, 
etc etc. 

()\ the Bth of June, 1847, the Howard Athenaeum 
was re-opened for a shorl season by Thomas Ford, W. 
L. Ayling a- Btage-manager. Mr. George II. Andrews 
and lira. Abbott, with Blangy and Vallee, appeared, 

and in July the Ravel- came. 

The season of 1847-8 commenced August 16th, with 
Mr. Ford a- lessee, W. II. Chippendale acting manager, 
and W. L. Ay ling a- stage-manager. Several new faces 
appeared among the stock, but none who proved perma- 
nent favorites. The stars consisted of Mr. Harvey Tuck- 
ett, who appeared as Don Ccesar de JBazcm, Falstaff, 
etc. ; Madame Anna Bishop, Booth, Ciocca, Italian Op- 
era Company in September ; Anderson, who was sup- 
ported by Mrs. George Jones, and appeared in " Lady 
of Lyons," " King of the Commons," etc. ; Mrs. Mowatt 
and Davenport, just prior to her departure for Europe ; 
Seguin Operatic Troupe, Dan Marble and Professor 
Risley & Sons, Rice, H. P. Grattan, the Monplaisers, 
Signora Biscaccianti, the Heron Family, and the Be- 
douin Arabs. 

Madame Bishop made her first appearance in Opera 



RECORD OF THE BOSTON STAGE. 451 

before a Boston audience August 26, 1847, at this 
house, in scenes from Balfe's " Maid of Artois," and 
followed up that success by scenes from " The Barber 
of Seville," " Linda of Chamounix," " Tancredi," " La 
Sonnambula," " The Love Spell," and "Anna Bolena." 

Her greatest success then was undoubtedly in the 
recitative and aria from " Tancredi," which, in her 
noble bearing, heroic stage presence, and superb deliv- 
ery of either recitation or air, commanded universal 
admiration. Such breadth and freedom of phrasing 
and perfection of recitative was a rarity, and the liquid 
flow of melody in the song charmed every cultivated 
ear. In the death scene of " Anna Bolena," this ver- 
satile vocalist and finished actress found ample response 
to her fidelity of presentment and the chaste style which 
pervaded the performance. In the rondo finale of " La 
Sonnambula," her brilliant execution almost overcame 
the embarrassment of voice, extremely limited in com- 
pass, and caused many regrets that nature had not 
been more generous to one so able to make good 
use of her vocal and personal gifts. The familiar 
" Una voce " was made by her to assume fresh interest 
by rapid execution in staccato, which rivalled the best 
violin player's utmost facility in that difficult trait. 

No woman has ever been able to personate heroes of 
the Othello and Tancredi stamp with that absolute em- 
bodiment Madame Bishop invariably presented. Form, 
gait, and action were assimilated to the character repre- 
sented. Coming so close upon the Havana Opera 
company, her audiences were not large, though highly 
appreciative and enthusiastic. 

At a subsequent period she appeared in costume at 



432 RECORD OF 'mi: BOSTON STA< 

the Melodcon and Tremont Temple, exciting both won- 
der and enthusiastic applause by her admirable person- 
ation of OtheUo and Desdemona, on the same evening, 
in the former place, and the freedom of a Mexican 
girl's manner at the latter. The music of each role 
was presented with appropriate style, giving her em- 
bodiments of characters a lifelike semblance, at once 
rare and deeply interesting. 

In the concert-room, Madame Bishop proved herself 
mistress of every Btyle, and the mosl remarkable linguist 

that has yet been noticed in musical annals. Twenty 
(liilei-ent tongues were by her married to music with a 
purity and grace of delivery that satisfied the most 
exacting native. 

Like the song which gave her so great and well- 

ived a celebrity, she made the union of melody 

and language "delightful to the ravished sense;" and 

whether it were Russian, French, or Hottentot, their 

roughness became smooth and liquid flow of rhythm. 

In the English opera which her company gave at the 
Boston Theatre, a duet between Linda and her lover 
as given by Madame Bishop and Reeves, (a brother of 
Sims Reeves,) fairly intoxicated the city in their soft 
and perfect blending of voices, to make English at once 
expressive and melodious. 

In September, 1847, the Havana Opera Company 
again visited Boston, performing for a short time at the 
Howard, and then removing their scene of dramatic 
concerts to Tremont Temple. Of this season the most 
taking performance was " Corrado d' Altamura," in 
which Sofie Marini had a fine part. It was given but 
once, and that once nearly occasioned at rehearsal a 



RECORD OF THE BOSTON STAGE. 453 

disrupture of the company, as Tedesco, jealous of 
Marini, insisted upon a transposition to suit her own 
voice, or whim, that destroyed the effect of a finale and 
the contralto's great point. Signor Villarino found it 
difficult to quell Tedesco's rage at being refused this 
concession, and for a time confusion Avorse confounded 
bore unrestricted sway. 

In the Howard Athenasum " La Sonnambula," with 
Caranti Vita, Perelli, Rainieri, in the principal charac- 
ters, led off, followed by " Norma," with Severi, Tedesco, 
and Rainieri, as principals, " Ernani," with its original 
cast, " The Barber of Seville," with Tedesco, Vita, and 
Lormi, w r ere presented with a fair ensemble to a mod- 
erate audience. Their dramatic concerts were failures 
in almost every point of view. The public resented 
Villarino's economy in quitting the Howard, and thus 
depriving them of genuine opera. 

The first appearance of Elize Ostinelli upon the 
Boston stage took place at the Howard Athenaeum, 
January 5th, 1848, " La Sonnambula" being the opera, 
Vietti the Elvino, and Avignone the Rodolfo. She was 
extremely agitated during the whole performance, and, 
not being able to control her voice, disappointed expec- 
tations wrought to a high pitch by New York eulogiums. 
Nature had been prodigal in gifts of voice, but a slight 
and extremely nervous frame often refused to sustain 
her through an opera. She then betrayed an impurity 
of intonation which, in contrast with the Italian vocalists 
so recently here, chilled enthusiasm, and required all 
the efforts of her especial friends to excuse and cover 
up by applause. This friendly reception as the Amer- 
ican prima donna and Boston's first show upon the 



\~>\ RECORD OF THE BOS 

Italian lyric stage, gave her confidence, and her second 
appearance was a genuine triumph, so far as a eery 
petite figure could be converted into a good stage pre- 
sence by the charm of a fine \ oice under good control, 
and its capability of wonders in vocalization a- exhibited 
in the rondo finale. After " La Sonnambula" had ex- 
hausted its attraction, Bhe appeared in " Lucia di Lam- 
mermoor," with great success, her flexibility and beauty 
of voice having free Bcope in the cavatina and rondo, 
and her union of good acting with a brilliancy and ease 
of vocalization rarely equalled in the mad iking 

captive even the most exacting dillettanti, who freshly 
remembered Persian] and Jenny Lind in that char- 
acter. 

She accomplished this mastery of all difficulties with 
indifferent support ; and not until the last night of the 
opera, when Benedetti and Beneventano appeared in 
aid, was her full display of extraordinary vocal and 
histrionic powers manifested here. A furore in antici- 
pation of a great performance, and Benedetti'a first ap- 
pearance, raised §400 of premiums from the sale of 
tickets for that night, and the excitement of their 
audience brought out an enthusiasm in the performers 
seldom witnessed upon the lyric stage. On the 2Gth 
of January, a truly grand complimentary benefit was 
given her by a public so enthusiastic that $700 were 
paid in premiums for the choice of seats, and the net 
proceeds of that substantial compliment were SI, COO. 
Biscaccianti was, at various subsequent periods, highly 
successful in concerts at the Melodeon and Tremont 
Temple, with Perelli and Henri Herz. She then visited 
Europe for improvement of style and method, returning 



RECORD OF THE BOSTON STAGE. 455 

to give concerts in New York and Boston. Opera at 
low prices had then destroyed the attraction of concerts, 
and she went to California to achieve great concert 
success ; after that she visited Lima to give operatic 
performances. 

Sands, Lent & Co. again took the theatre, and at the 
expiration of their season a series of masquerade balls 
were given, which reflected any thing but credit upon 
this temple of the drama ! In May, 1848, the Astor 
Place Opera Company leased the theatre, and on the 
31st of May, Signora Truffi made her first appearance 
before a Boston audience. The opera was " Lucrezia 
Borgia," and she assumed the Dutchess, Benedetti being 
the Genaro, Rosi the Duke, and Signora Lieti Rossi the 
Orsini. Truffi captivated by the charms of an elegant 
person, a graceful, expressive action, and a rich, well- 
managed mezzo soprano. Benedetti's then glorious 
tenor swept away the remembrance of all other tenors. 
Rosi made a good Duke, for that day when Badiali was 
unknown ; and the representative of Orsini made a. 
great hit. Verdi's " Nabucco," with Truffi, Benedetti, 
Rosi, and Beneventano followed, but produced no 
sensation. Truffi excited a furore by her Elvira, 
(" Ernani,") but Arnoldi made a poor hero, and Bene- 
ventano a ridiculous king. In Mercadante's " II Guira- 
mento," a great triumph was obtained by Benedetti 
and Truffi. The season did not prove lucrative, and to 
relieve distressed singers, musicians, etc., a complimen- 
tary benefit was given at the last performance, June 26, 
in which Truffi appeared in Lucrezia, with Benedetti 
as Genaro, sang the cavatina from " Ernani," in which 
she introduced a fine trill, and with Benedetti gave the 






45G BSCOBD OF THE BOSTON STAGE. 

last act of u II Grairamento." Truth retained her great 
popularity here until after she became Signora Bene- 

detti, when her voice appeared to have lost its remark- 
able purity and flexibility, and her acting had become 
very tame and indifferent. 

The season of 1848-9 was commenced under Ford, 
and during his reign the Viennoise Children and the 
Moravian Singers appeared, followed by the Lehmann 
Family, who subsequently joined the Ravels. Miss 

Lehmann, whose death was caused in consequence of 
her dress taking fire, while performing at Niblo's, was 
a member of this corps. 

In the latter part of October, Mr. John Brougham 

teased the theatre, ostensibly for the production of one 
of his own pieces, but after the papers were signed, Mr. 
Ford discovered that Mr. W. E. Burton and Mr. 

Brougham had secured Mr. Macready, who, under the 
joint management of the two B.'s. made his re-appear- 
ance, on the evening of October 30th, in Macbeth, sup- 
ported by Mrs. J. Wallack. This engagement was 
profitable to the speculating B.'s. Mr. Burton, after 
Macready's departure, was announced to appear, but 
he left for New York, without fulfilling his intention. 
The theatre was, for the remainder of the season, in 
Mr. Ayling's charge, and the business was most dis- 
astrous. Isabel Dickson appeared — J. P. Addams, Mrs. 
Dinneford, and Maurice Power, son of Tyrone Power, 
made his first appearance here as McShane, in the 
"Nervous Man." He was a gentleman, but no actor. 

The management at one time reduced the prices to 
25 cents, and Addams and Locke appeared. Compli- 
mentary benefits were given to Robert Hamilton and 



RECORD OF THE BOSTON STAGE. 457 

to George E. Campbell, then reporter for the Times, 
now a judge in California, who wrote a local play, in 
which a scene representing the interior of the police 
court was introduced. On the 15th of January, Madame 
Laborde appeared as Lucia, which was followed by the 
management of Mr. Fry, who introduced his opera, 
which proved a failure. After their departure, there 
was a temporary revival with Blangy, Durand, Chip- 
pendale, Johnson, Skerrett ; and in June the Bateman 
Children, since celebrated as prodigies by their success 
in England, under Le Grand Smith, Esq., made their 
appearance, and the Viennoise Children in July wound 
up a very checkered season. 

Mr. Charles R. Thorne leased the theatre and opened 
it on the 27th of August, for the season 1849-50. Mr. 
E. Eddy was stage-manager, and the company included 
Mr. and Mrs. Thorne, Mrs. Skerrett, Miss Wagstaff, 
Miss Fanny Wheeler, Mrs. Muzzy, Miss Mace, Messrs. 
Eddy, C. Webb, G. Jordan, Skerrett, Saunders, Bel- 
lamy, Ward, Watkins, etc., etc. ; and on the opening 
night " Macbeth " and " Perfection " were performed. 
Between the plays, Miss Anna Walters (Mrs. Jordan) 
made her first appearance in Boston as a danseuse, and 
proved a very pleasing acquisition to the theatre. 
During the season Mr. Hackett, Mrs. Mossop, Collins, 
Chanfrau, Mr. Bass, Hudson, the Seguin Troupe, with 
Rosa Jaques and Mrs. Farren, appeared. 

The season, however, in addition to the above attrac- 
tions, was marked by the re-appearance in Boston of 
Miss Jean Margaret Davenport, who, on the 15th of 
October, 1849, appeared as Julia in the '' Hunchback." 
She had left our shores, a prodigy of youthful genius, 



458 RBOORD OF THE BOSTON STA I 

a mere phenomenon, who, like Burke and Batty, Clara 
Fisher, and oilier.-, it was anticipated would prove a 
foreed plant, whose fragrance bad been exhausted ere 
it reached its growth. They who judged by these pre- 
cedents were pleasantly disappointed, when they beheld 
in Miss Davenport an actress of no ordinary merit, and 
her success was brilliant. She played a brief but 
excellent engagement, won many friends, and returned 
in the following December to renew the delight of all 
theatre-goers, by her performance of the Coimte$$ in 
"Love," a pari which >he played to overflowing he 
She was supported by Mr. Neaffie, who, as Iluon, gained 
deserved applause. 

On the 21st of January, L850, Mr. II. W. Finn, who 

had made his debut at Providence a short time previ- 
ous, appeared for the first time in this city as Dr. Pan- 
gfau, in the ' 4 Heir at Law,*' and subsequently as Billy 
Lackaday in "Sweethearts and Wives," and Mans. 

Jaques. The reputation of the father, the inimitable 
comedian, attracted for the son on the opening night a 
good house, and for a tyro he acquitted himself remark- 
ably well. His best performance was Mons. Jaques. 
After a temporary absence from the stage, Mr. Finn 
resumed his professional duties in California in 1853. 
In March, Max Maretzek brought his Opera Company 
here, and was followed in May by the troupe compris- 
ing Badiali, Marini, Bosio, Salvi, etc. The Negro 
Opera concluded the season, and Mr. Thorne retired 
from the management of the Howard. 

The dramatic season of 1850-1 at the Howard 
Athenaeum was commenced by Messrs. Baker & Eng- 
lish, and on the opening night, August 19, 1850, "The 



RECORD OF THE BOSTON STAGE. 459 

Rivals, or A Trip to Bath," and " The Three Cuckoos," 
were perf rmed. Of the stock company, Mr. and Mrs. 
John Gilbert, Mr. John Brougham, Mrs. W. H. Smith, 
were the most prominent. Mrs. English, Mrs. H. M. 
Stephens, Mr. G. Arnold, S. Johnson, Raymond, and 
E. Warden, were also attached to the theatre, with 
Miss Ince as danseuse. Mr. Brougham brought out 
his comedy of " Romance and Reality," and the prin- 
cipal star engagements were those of Miss Mary Taylor, 
Miss Charlotte Cushman, assisted by Neaffie in Septem- 
ber, Miss Davenport, supported by A. W. Fenno, who 
on the 25th of October, brought out " Adrienne the 
Actress," and on the 4th of November revived Mr. 
Sargent's play of " Velasco." On a second engagement, 
Miss Davenport, supported by Charles D. Pitt, brought 
out " Charlotte Corday," which did not materially add 
to her reputation as an actress. Blangy, with Durand, 
appeared during the season. 

Mr. C. D. Pitt made a favorable impression in this 
city, and his acting subsequently at the Museum was 
warmly praised. 

Mr. and Mrs. Thorne, Mrs. Hamblin, (Mrs. Shaw,) 
and Wyseman Marshall, also appeared. Before the 
close of the regular dramatic season, Mr. Ayling assum- 
ed the management, and " Alfred Ellton," a play written 
by a clergyman, was produced, and early in May the 
theatre closed, the star of the evening refusing to appear 
unless arrearages were paid. A circus company filled 
up the usual dramatic summer vacation. 

The season of 1851-2, under the management of 
Wyseman Marshall, commenced on the 8th of Septem- 
ber with " Love's Sacrifice." The preliminary announce- 



460 CORD OF THE BOS1 OH 

ment of the lessee said: — "The manager hopes, b 
straight-forward course, to merit the patronage ;m<l 
approbation of all lover- of the legitimate drama." It 
was late in the Beason when Mr. Marshall concluded to 

take the theatre, and it was difficult to procure a very 

strong stock company, but he secured the services of 
Mrs. Melinda Jones, Mr. and Mrs. Sloane, Mrs. Cra- 
mer, Miss Cramer, (now Mrs. Neagle,) Meeker, Ilam- 
blin, Mrs. Groves, Whitman, Brand, and subsequently 

Mr-. W. II. Smith and W. F. Johnson. On the second 
night, September 9th, Mr-. Mowatt made her re-appear- 
ance, for the first tine- after her European tour, as 
JuliannOj in the "Honey Moon." She was most cor- 
dially received, and her engagement, which continued 
through the "Three Day.-' Jubilee/' proved eminently 
Successful. She was succeeded by Baron Ilackett, and 
on the 13th of October Mi-- Davenport brought out 
O. C. Wyman, Esq.'s translation of " Valeria." The 
translation did full justice to the original, and improved 
it in many particulars, but the play had not the merit 
requisite for a successful piece. The Seguins and Julia 
Turnbull next essayed to attract the public, with a fair 
result, but the theatrical firmament was looking hazy, 
when Mr. Edwin Forrest re-appeared, after an absence 
of several years, on the 3d of November. His engage- 
ment brought more money into the house, length of 
time considered, than any other of the season. 

The next star was Miss Laura Addison. Her father, 
Mr. Wilmhurst, was a tradesman in Colchester, Eng- 
land, where Miss Addison was born, in November, 
1822. She made her debut at Norwich, England, in 
1842, as Elvira in " Pizarro," and first appeared on 



KECORD OF THE BOSTON STAGE. 461 

the London boards at Saddlers Wells in IS 47. and 
remained for some rears a popular member of the ex- 
cellent histrionic company. She subsequently perform- 
ed with success at the Haymarket and at Drury Lane, 
and made her first appearance in America at the Broad- 
way Theatre, Xew York, and then visited Boston. Her 
success here was not what she anticipated, and her 
yisit to this country did not create that sensation which 
many anticipated, who knew of her popularity in Lon- 
don. In August. Miss Addison visited Niagara Falls, 
and while returning to Xew York from Albany she 
died, after a few days' illness, on board the steamboat 
Oregon, Sept. 2, 1852, of congestion of the brain. 

Mrs. Warner, the celebrated English actress, now 
somewhat advanced in years, appeared in November, 
and during her engagement performed Mrs. Beverley. 
Lady Macbeth, Julia, Mrs. Haller, Queen Katharine. 
and Hrrmione in the " Winter's Tale." Her Lady Mac- 
beth was excellent, but her great hit was in Her?nione, 
in the statue scene, which will long remain indelibly 
fixed on the minds of those who witnessed it, as a fine 
artistical bit of stage effect. 

Madame Thillon and Mr. Hudson appeared in De- 
cember, and did an immense business with the " Crown 
Diamonds." The lady was indebted for her success 
mainly to a pretty face, which attracted the admirers of 
personal beauty, more than to her vocal powers, which 
were limited and of no very high order. On one night 
of her engagement, the tickets and premiums amounted 
to SI. 400. During Madame Thillon's engagement, Mr. 
George Barrett and his daughter, Miss Georgianna 



IG'2 RECORD OF THE BOSTON STAGE. 

Barrett, now Mrs. Philip Warren, appeared on the 
off-nights. Mr. McKean Buchanan also played a short 
gagement. On the 14th of February, Mrs. Mowatt 
commenced her second engagement, closing on the 1 2th 
of .March. She made a great liit in Parthema to Mar- 
shall's J/t;/oj//ti/\ ami after her recovery from Lht effects 
of an accident received by being thrown from her horse, 
she received a complimentary benefit, tendered to her 
by his honor Mayor Seaver, Robert (•. Shaw, Esq., and 

Otlx 

Lola Montes succeeded Mr-. .Mowatt. Her appear- 
ance on the a danseuse, wag a mockery of 

that art which has bei a cultivated by Taglioni, Cerito, 
Eilseler, and Grisi, while her attempts at acting have 

rendered her ludicrous in the extreme. MlSS Daven- 
port commenced a farewell engagement, prior to her 

return to England, <>n the 5th of April, and attracted 

large audiences. Mr. John Brougham subsequently 
appeared, and during his engagement Mr. Rice's most 
excellent travestie of Hamlet was brought out Mrs. 

Pelhy played one night for her daughter's henefit, and 
in June Mr. Marshall let the house to the Ravel Family, 
who did a fair business. 

The season was one of the very few at this house 
that have proved remunerative to the manager. Mr. 
Marshall w r as fortunate in obtaining a succession of 
" stars," and with a very meagre company, and an 
economical system, he arrived at the termination of the 
season with a surplus of some $10,000. / The house, he 
was well aware, was not sufficiently capacious to warrant 
any very heavy expenses ; and though he was some- 



RECORD OF THE BOSTON STAGE. 463 

times severely handled, he adopted the only course, 
that of silence, and proved himself the winner in the 
end. 

The season of 1852-3 was commenced on the 31st of 
August, 1852, by Henry Willard, as "lessee and sole 
manager." Mr. Anderson, the " Wizard of the North," 
gave his exhibition there for a short time, and having 
closed on Friday evening, the 17th of September, Mr. 
Willard announced the opening of the theatre for the 
dramatic season on the 20th, and it. was duly opened, 
with the notorious Lola Montes. The interior had been 
entirely repainted and improved. To give the interior 
a drawing-room appearance, Mr. Willard displayed on 
the walls, in the rear of the private boxes, a number of 
prints, beautifully framed, representing the removal of 
the remains of the great Napoleon from St. Helena and 
the interment at the Hospital of the Invalides at Paris. 
This selection of subjects looked ominous of the future, 
and has proved so, for the AthenEeum under Mr. Wil- 
lard's management has worn a funeral aspect. In fact, 
it required very little imagination at times to fancy 
Thespis and Melpomene weeping over the tomb of 
the legitimate drama, and sighing to see actors devoid 
of talent, and actresses whose voices denoted speedy 
dissolution of body and soul, impersonating the heroes 
and heroines of Shakspeare, and of Bulwer, Knowles, 
and other leading dramatists. Miss Kimberly, Madame 
Thillon, Mr. Hudson, Mrs. Warner, and the Rousset 
family, appeared in succession, and did indifferently 
well. 

On the 3d of January, Mrs. Anna Cora Mowatt com- 
menced an engagement, opening as Parthenia, a char- 



464 or Tin: BOSTON 

aeter in which Bhe [ual, and during ber engage- 

incut Bhe attract! d rery excellent houses, lira. Sinclair 
was announced to appear, but did not make her app 
ance in Boston, but sent on a plea of illness, from which 
Bhe recovered in a very short time. Mr wa- 

nt that tine* performing at the National. Miss Kim- 
berly played another brief engagem< at, and the first 
portion of the dramatic -< lason was brought to a < 
in January, when Le Grand Smith leased the theatre, 
and brought out the opera troupe, of which Marietta 
Alboni was the prima donna. Th< 
were " Cenerentol Figlia del Regimented u La 

Sonnambula," " Norma," " II Barbieri de Sevigl 
Nine performances weir given by the opera company, 
and Taylor, with their dogs, performing 
on the off-night-. Madame Alboni had her greatest 
triumph in La Figlia, an impersonation which has sel- 
dom been compassed in thi- city. This operatic spec- 
tacle did not prove very remunerative to Mr. Marshall, 
of New York, and Le Grand Smith, more on account 
of the feeble Burport given to Alboni by her assistants, 
than from any other cause. It was stated that the 
nightly expenses were $1,500. Mr. Neaffie and Miss 
Heron succeeded the opera in February. In the month 
of March, Mr. TVillard announced a new season, with 
a company of great ability and talent, but unfortunately 
many could not discover the improvement. Mr. Jeffer- 
son and Mr. Palmer were certainly acquisitions, and 
with Mr. Goodall formed the only trio of actors who 
rose above mediocrity, that have been attached to the 
corps during the season. On the 14th of March, the 
Spanish Dancers, comprising Soto, Melisse, Pougaud, 



RECORD OF THE BOSTON STAGE. 465 

Drouet, Lavigne, Leeder, and Monsieur Mege, having 
terminated an engagement at the National, commenced 
at the Howard. It was on this night that Miss Emma 
Fitzpatrick made her first appearance in Boston, as 
Letitia Hardy, supported by D. S. Palmer as DoricOurt, 
and Mr. Martin as Hardy. Miss Fitzpatrick was born 
in Clifton, near the city of Bristol, England. Her 
father was from the county of Kilkenny in Ireland, and 
at one time was in affluent circumstances, but the 
vicissitudes of life left the family after his death, de- 
pendent upon their own exertions, and Miss Fitzpatrick 
adopted the profession, con amove, making her debut as 
Lydia Languish, to Mrs. Glover's Mrs. Malaprop, at 
Newcastle (Potteries). To Mrs. Glover she was in- 
debted for what stage education she received, and with 
this eminent actress she was a great favorite. After 
performing at several of the provincial theatres, she 
played at the Dublin Theatre, where she gained repute, 
and was thence summoned to London, where at the 
Haymarket she made her debut as Helen in the 
" Hunchback," and shortly after appeared at Drury 
Lane, then managed by Bunn, in the same character 
to Miss Helen Faucit's Julia. It is a bit of green-room 
gossip, that Miss Faucit, who is the actress of the pres- 
ent era, although somewhat envious of any youthful 
debutante, on account of her own age, was asked her 
opinion of Miss Fitzpatrick. The lady gave a celestial 
direction to her nose, a few w r hiffs with her fan, and 
replied, " She is a good dresser." This was marked 
envy ; but the compliment bestowed was just, for in 
her make up she displays the greatest taste, and is 
always well dressed, without the slightest approach to* 
30 



4CG KKCOIID OF Till-: BOSTON STAGE. 

tawdry. She performed for some time in London, and 
was engaged by Beckett to visit America, which offer 
she accepted, and appeared at Niblo's in New York, in 
August, 1852. Her connection with the dancers was 
unfortunate for her dramatic reputation. The dan 
before the came were regarded as inferior in merit, 
and Mias Fitzpatrick was apparently second to them, 
which placed ber in a false position. Her acting, as a 
light comedienne] has a vigor and Btyle, which renders 
her, especially in dashing comedy, one of the best 
actresses of the day; and her Helen, Mrs. ('hillinyton, 
Lady TscaU, etc., were performances with which the 

critical could fold no fault. Her health at times de- 
prives her of that force requisite for many impersona- 
tions, but when in good spirits and well supported, she 
is truly a charming actress. On the first night of her 
appearance in Boston, a little incident occurred worthy 
of note, if only to show how trivial a dereliction from 
custom will serve to break the ice for a new performer. 
The audience did not appear to enter into Miss Fits- 
Patrick's vein, and with their proverbial coldness were 
inclined to hold back their applause, perhaps inclined 
to think the Letitict a very bold girl, to hazard what 
appeared to them an unwarranted freedom, inasmuch 
as the personation differed from stereotyped perform- 
ances of that part. The play proceeded till Letitia, 
approaching Doricourt, asks : " Do you know what the 
lamb says ? " An instantaneous reply came from the 
gallery of — bah ! ha ! ha ! which afforded an oppor- 
tunity for the lady to give a specimen of a silvery 
laugh, to which the audience added a chorus. This 
served as an introduction, and her performances were 



RECORD OF THE BOSTON STAGE. 467 

always well received. Mr. Hackett played during the 
engagement. 

The next claimant for popular favor at the Howard 
was Mrs. McCready, a pupil of Peter Pichings of Phi- 
ladelphia, and wife of Dr. McCready. She had per- 
formed only a week on the stage, before her appearance 
at the Howard. Her best impersonation was that of 
Julia in the " Hunchback," (Miss Fitzpatrick, whose 
stay was prolonged a week after the departure of the 
dancers, performing Helen,) Mr. J. H. Oxley as 
Master Walter, Goodall as Sir Thomas Clifford. Mrs. 
McCready, in other parts, gave signs of careful study, 
and, though a novice, there is, we think, a promise in 
her present acting which leads us to believe that time 
and study alone are required to perfect her as an 
actress, there being no lack of natural mental vigor. 

On Tuesday evening, April 19th, 1853, Madame 
Sontag's Opera Troupe commenced their season at the 
Howard, and gave three operas each week till May 
20th, the houses varying in receipts from $1,300 to 
$800 ; a difference partially to be attributed to the fact 
that Count Rosi interfered with Mr. Ullman, the agent, 
arid reduced the number of tickets sent to the press, on 
one occasion. We did not allude to the fact at the 
time, as we are indifferent to these minor matters, nor 
do we believe that the public are much interested in 
such episodes ; but the almost universal howl sent forth 
by the afflicted had its effect in destroying that har- 
mony which should exist in the public mind, especially 
when the lyrical drama is the object of patronage. The 
Sontag troupe did well here, and made money ; but had 
they come earlier, when the Bostonians were ripe for 



468 RECORD OF THE BOSTON STA< 

Madame Sontag, the harvest would be one of gold, 
instead of silver. Of the style in which operafl w<tc 
produced, we need not allude, for the public will long 
remember the captivating prima donna, Padiali, Poz- 
zolino, Vietti, Gasparoni, Biondi. Signora Mora, Sig- 
nora Kosina Pico, Vietti, etc., and the popular leader, 
Carl Eckert. The recollection of this operatic troupe 
will long remain a pleasant memory, to which the mind 
will often recur, renewing in imagination the pleasure 
experienced by the reality. The arrest of Palmer and 
Philbriek mark- this engagement ; but it is a blemish 
which we willingly pass over in silence. 

Performances were given on the off-nights by Mr. 
Willard's stock company ; and on the nights of the opera, 
the Eagle, or, as it was called after Messrs. Olwine & 
Goodall tried their hand at it, the " American " Theatre, 
was opened by the manager of the Howard, but with 
little success. Mrs. Warner played an engagement at 
the Howard. She came to Boston to play at the 
National, but that house had closed the season, and she 
was out of employment. On the 17th of May, Mrs. 
Warner took a benefit at the Howard, when Mrs. 
Mowatt appeared as Desdemona, and Wyseman Mar- 
shall as Othello ; Mrs. Warner was to appear as JEmelia, 
but severe indisposition prevented, and Mrs. Melinda 
Jones assumed the role. On the 5th of May, H. W. 
Fenno, late of the National, took a benefit at this house, 
and on the 19th J. B. Wright, also a graduate of the 
National, was the beneficiary, when Mr. Henry Sedley 
made his re-appearance, and Mrs. Pelby, Miss Julia 
Pelby, and Miss Anna Cruise volunteered. The result 
was not such a reward as Mr. Wright deserved. He 



RECORD OF THE BOSTON STAGE. 469 

has been a hard-working, industrious stage-manager, 
and we hope soon to see him in a position for which he 
is eminently qualified. 

The last star engagement of the season was that of 
Mr. James W. Wallack, Jr., who had been playing at 
the National. The Howard closed its doors for the 
dramatic season in June. 



CHAPTER XXXV. 

The Boston Museum. — The Patrons of the Museum. — The Drunk- 
ard. — Opening Night at the New Museum. — Mrs. Barrett. < — The 
Vaudeville Saloon at Boylston Hall. — The Eagle Theatre. — Mr. 
Pelby's coup d'etat. — The Olympic Saloon. — The Boston Adel- 
phi. — The Lyceum Theatre. — The Dramatic Museum. — Beach 
Street Museum. — The Predictions of a Veteran. — Closing Ke- 
marks. 

We have alluded incidentally in previous chapters to 
the Boston Museum. This popular place of amusement 
is now a feature of this city. From a very humble 
beginning, it has increased and strengthened, till it has 
attained a name which is as enviable as it is well- 
deserved. 

On the 14th of June, 1841, the " Boston Museum and 
Gallery of Fine Arts," was opened by Mr. Moses Kim- 
ball and associates, in the building erected for the pur- 
pose at the corner of Tremont and Bromfield streets. 



470 RECORD OF THE BOSTON STAGE. 

The collection of natural curiosities was the same that 
formerly belonged to the New England Museum, but 
many additions were made, and several valuable curi- 
osities were added. There had been several museums 
in Boston, but this new place differed from all others, 
from the fact that it had a spacious music saloon over 
the Museum, capable of holding 1200 persons. The 
walls of the saloon were hung with pictures, and the 
stage was sufficiently capacious for the performance of 
vaudevilles, etc. The drop scene was very neat and 
appropriate, and the place was quite comfortable and 
cosey. The hall was dedicated on the 14th by a grand 
concert, in which Mr. Sinclair, (father to Mrs. E. For- 
rest,) and Miss Melton, were the attractions. These 
entertainments proved very acceptable to the public, 
and in course of the first twenty months, Yankee Hill, 
Dr. Valentine, Mr. "Walcott, Miss Rock, Dempster, 
Mr. Young, Mr. and Mrs. Maeder, S. C. Massett, Miss 
Moss, Mrs. Seymour, Edward Kendall, Miss Sarah, 
Knight, the Indian "Warriors and Squaws, Mr. Love, 
the polyphonist, the Rainer Family, Signor Blitz, the 
Mysterious Gipsey Girl, Major Stevens' Diorama of 
the Battle of Bunker Hill, the Miss Shaws, were at 
different times exhibiting at the Museum. 

In February, 1843, Mr. Kimball engaged John Sef- 
ton and Mrs. Maeder to bring out " Operattas," and on 
the 6th inst., the "Masque Ball" wa3 brought out. 
This was the commencement of dramatic representa- 
tions at the Museum, and in the fall of the same year 
an efficient corps dramatique, under "W. H. Smith, was 
organized, and performances were given. On the 25th 
of September, 1843, Miss Adelaide Phillips (" only ten 



RECORD OF THE BOSTON STAGE. 4:71 

--:.- :E" n:'T:-::r:;;--::.::T ■=::'"':?.:'":. 

fni r.\~r '::i_:sr :: :i::: :..'.- ::iLi:: -i_:;if sir i_.~f 

Mii; Fiilii f :j :3f i±iinr;= ::' if: 

friends and Jenny land, is now in Europe perfecting 

It: t ..- '. ; :::t:_ti:5 iififr ::z;:r:ii: if- — 

a brilliant future is in store for her. The Museum 

r.-'. :'.'. : 5:t : :".::-' f :Lt :t5::: i: : :Ej :: 

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the Museum has thus lone an ii to w amda imsc ani ■ 
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In the year 1846 the present Museum was built by 
iMr. Kimball and his associates, and on Ike 2d of 
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tint « Aladdin 9 was brought out, which had a ran of 
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172 



RECORD OF THE BOSTON STAGE. 



and has attracted since then a very large amount of 
money to thai house. To record in detail the various 

performances or the novelties thai have been offered, 
Mould, ;ii thia time, be a repetition of what ia still fresh 
in the memory of our readers. Mr. Kimball is one of 
the Bhrewdesl managera in thia country, and has at all 
times in reserve sufficien! attractions to render him 
independent of stars, though of late yeara thia place has 
been the scene of Mr. Booth's performances, when in 
Boston. .Mr. \V. II. Smith, a- stage-director, has no 
equal in this city, and to Ids efforts may he attributed 
a large portion of the success of tin- Museum. Mr. 
Comer, a- Leader of the orchestra and musical director, 
rendered the most efficient services, while .Mr. Warren is 
a host in himself, and .Mrs. Thoman. Mrs. Vincent, Mr. 
J. A. Smith, G. II. Finn, and others, air highly esteem- 
ed. There is not a theatre in this country which is 
more agreeable for an actor than this. Behind the 
scenes all is harmony, and a degree of etiquette is 
observed, which should be introduced into every the- 
atre. 

During the season of 1852-3 at the Museum, Miss 
Julia Bennet (Mrs. Barrow) performed an engagement 
of ten successive weeks, to good houses. 

That Boston has ever contained a goodly number of 
persons who w T ere patrons of the drama, we have evi- 
dence in the number of -entertainments supported, and 
the numerous localities where Thespis or Melpomene 
have had temporary sw r ay. Boylston Hall, so long 
occupied by the Handel and Haydn Society, was in 
1840 leased by "Wyseman Marshall, and on the loth of 
July opened under his auspices, as a summer theatre, 



RECORD OF THE BOSTON STAGE. 473 

the National and Tremont being closed. The hall was 
well ventilated, and the place was called the Vaudeville 
Saloon. A constant succession of novelties, during a 
brief season, served to attract very excellent audiences, 
composed chiefly of strangers. The leading attractions 
were Mrs. W. H. Smith, Leman, 0. Marshall, W. G. 
Jones, Miss Fanny Jones, Gr. Haynes, who appeared 
as William Tell, E. Jones, J. Salmon, G. H. Wyatt, J. 
P. Adams, Mrs. Hildreth, and the Fox Children. This 
dramatic saloon continued in " full tide of successful 
experiment" till the vacation at the other theatres 
closed, when the manager and actors were obliged to 
leave, to fill engagements at the regular theatres. 

In 1841, an amphitheatre was erected on the corner 
of Haverhill and Traverse streets, where performances 
were given by various equestrian corps. In 1842, it 
was fitted up, and called the Eagle Theatre, and was 
opened June 27, 1842, by Wyseman Marshall, when 
an address was delivered by Mrs. Charles Hill. The 
prices of admission were, private boxes, 50 cts. ; boxes, 
25 cts.; pit, 12 1-2 cts. On the 20th of August, Mr. 
W. H. Smith, after a temporary absence from Boston, 
returned and took the stage management. Melodramas 
and comedies were given here, and with such effect 
that the Little Eagle, as it was called, threatened to 
ruin the National Theatre. Mr. Pelby had been obliged, 
in order to compete, to reduce his prices to 25 cents. 
Although the Eagle was not coining money, it was 
gradually killing the National, when Mr. Pelby bought 
a quarter interest in the theatre, and one night visited 
the premises and cut away a portion of the building 
which supported the roof ; and thus, after a season of a 



474 KLCORD OF THE BOSTON STAOK. 

few months' duration, brought the season at the Eagle 

to a close. ' A law suit wit threatened, but the I 
never came to trial. Mr. Marshall lost the little he 
was worth in this enterprise, but it gave him that ex- 
perience which baa since been worth more than the 
money lost. 

In 1841, Mr. Lee fitted up his saloon on Washington 
street, for the purpose of gi\ ing conceits. It was sub- 
sequently leased by J. W. Appleton, Ostinelli, Sarsedas, 

and others, who called it the Olympic Saloon, and with 
a company comprising A. W. I Ynno, Curtis, and oth 
farces and light comedies vrere given. It was here that 
Miss Mary Ann Lee appeared, and fascinated the 

students of Cambridge, and the young men of Boston, 
by her dancing. It passed through several hands, and 
IliSi Turnbull, tin; Maeders, F. S. Hill, Miss Fisher, 
and others, were connected with it. It had a brief 
existence. 

On the 5th of April, 1847, the Boston Adelphi The- 
atre was opened by Messrs. Brougham and Bland, 
(located in Court street, over "Waterman's House Fur- 
nishing Store,) with " Faint Heart Never Won Fair 
Lady," the burlesque of " Cher Ryan Dfairs Tar," and 
the " "Widow's Victim." The company consisted of 
Mrs. Brougham, Miss WagstafF, Mrs. A. W. Benson, 
Mrs. Bland, Messrs. John Brougham, Bland, Whiting, 
Graham, Parker, Stephens, Williams, etc. On the 
opening night, Mr. Brougham delivered one of his 
facetious addresses, which is worth preserving : — 



RECORD OF THE BOSTON STAGE. 475 



OPENING ADDEESS. 

DELIVERED BY MR. BROUGHAM AT THE ADELPHI OK MONDAY 
NIGHT. 

[After some altercation behind the Scene.] 

PROMPTER. 

But, Mr. Brougham, pray don't; what will they say? 

Just what they please ; be sure they '11 haye their way ; 

There, Sir, I told you they 'd expect no less. 

Begin without an opening address ! 

Why, 'tis in fact the " open sesame " — 

Once spoken, our good friend, the public, may 

Come freely, though not altogether free, 

But just as Casim Baba did before, 

By leaving their own quarters at the door. 

Our house, methinks, though not exactly white, 

Has just as constitutional a right 

To greet its auditors with opening speech, 

Are there not representatives in each? 

There, of this age, this country's population; 

Here, of all ages, and of every nation ; 

With them delay or dulness is no crime ; 

Here, there is no trifling with the public time ; 

There, acts take weeks before they see the light ; 

Here, we produce some five or six a night: 

For our acts, wit and humor we invoke ; 

In theirs, 'twould puzzle you to find a joke; 

Here we' ve a couple, on each side the door. 

Grave wisdom there presides without a smile ; 

Here she takes folly's sprightly mask awhile; 

Both houses, therefore, have this end and aim, 

The right to vindicate, the wrong to shame ; 

In each, with you, the gravest duty lies, 

To oil the wheels, by granting the supplies. 

But now, for what we are about to do, 

A word in secret, listen — entre nous ; 

I can 't exactly say; of this I 'm certain, 

There are some plots in train behind that curtain. 

I don 't much like to treat such matters lightly; 

But my advice is, you should watch them nightly. 



17G RECORD OF THE BOSTON STA(-I.. 

Lose not a moment, and, beyond b doubt, 
Vcu Ml find by and by that something will come out. 
I dare not whisper if I would; 
anot paint — I wish I could. 
Let me Implore you not to join the mm 
In any way, except to be appro® 
We've heard and breathed the recent martial air 
Played by the "public instruments," and Bwear, 

That to 8 man. v. one and all, 

To do our duty at the prompter's calL 
'Tis not the first time we have so appeared, 
For oft before we've " kindly volunteered." 
You '11 lin<l some oew enlistments in our cor 

And some old soldiers whom yon 

With one ambition animating all, 
By the Adelphi's flag to Btand or fall, 
Just e requires. Our marshal tact 

Most not d 'll see as act 

Manoeuvres various, but not quite the same, 
Makes gallant Taylor's an historic name; 
By 1'arthian prowess arc our Laurels won — 
Our sful ran. 

I • us then hope, in thi> all iron 
When universal raildom is the r 
You'll not forget this new established "st 
To gain your Bufirages we toil like Turks, 

i our painter at the canvas works; 
EDs views are yours, for zeal he's aot surpassed, 
But nails his (water) colors to the mast; 
The envied victory your voice commands, 
To give Vhepahn rests solely in your hands. 
You can each doubt remove ; be pleased to do it — 
Go for " The Adelpih " — pshaw, 1 mean come to it. 

The Adelphi was a favorite resort of the lovers of 
fun, and John Brougham was the life of the place. The 
burlesques which were brought out were very good, and 
attracted well. " Metamora " was burlesqued, Mrs. 
Brougham performing Tapiokee, and " Tom and Jerry, 
or Life in Boston," from its local hits, did well. Miss 



RECORD OF THE BOSTON STAGE. 477 

Anna Cruise and Mrs. "W. H. Smith were attached to 
the company. The house was very small, and even 
when crowded would not admit of sufficient receipts to 
afford a very remunerating business to the managers. 

The Lyceum Theatre, in Sudbury street, afterwards 
the Eagle, and lately christened the American, was 
opened in 1849 by Mr. H. Bland, and was managed by 
Bland and Skerrett. Messrs. Crouta and Mestayer 
subsequently tried their hands at it, and others have 
since indulged their managerial propensities by short 
seasons. It has never benefited the management for 
any length of time. 

On the 16th of October, 1848, Messrs. Eobert Hamil- 
ton and C. L. Stone opened the Dramatic Museum, in 
Beach street, near the United States Hotel. The per- 
formances embraced " As You Like It," Rosalind, Miss 
Clara Ellis ; Touchstone, C. W. Hunt ; an Opening 
Address, written by Frederick S. Hill, and the farce of 
" The Lady and the Devil." The business was not 
remarkable, and the projectors of the enterprise burnt 
their fingers. It was subsequently called the Beach 
Street Museum, and the " Female Forty Thieves," in 
which Miss Mestayer figured, drew tremendous houses. 
It was opened by several adventurers, at intervals, for 
a year or more, and is now occupied by the Catholics, 
the basement being used as a market house. 

There have been several other places of amusement, 
more or less public, of which we make no note, as they 
present no marked feature, though from them have 
emanated several actors who have become ornaments 
to their profession. 

Having alluded to the various places where the drama 



•478 RECORD OF THE BOSTON STAGE. 

has been presented to the Boston public, we may with 
propriety drop the curtain, and close this record of the 
Btage in Boston. We would at this time return our 
thanks to all who have assisted us in its preparation. 
One gentleman, however, has passed away since its 
commencement, from whom we received the most 
generous aid, and who, previous to hifl death, was kind 
enough to suggest the propriety of its appearing in 
book form, and mad'- notes for our use of some mis- 
statements in the earlier chapters. To enumerate those 
who have given OS information would occupy too much 
space, and, it' we should attempt it, would be a task 
which would require dajfl to complete. We are under 
great obligations, also, to oar contemporaries of the press, 
both in Boston and in other cities, for their kindly no- 
tices <,f the Record. 

The reader who has perused these chapters, must 
have been impressed with the fact, that the drama is 
the amusement most favored by the people, and the 
most enduring in its hold upon the public. For nearly 
sixty years Boston has sustained one or more theatres, 
and the New Opera House and Theatre, now in process 
of erection, will receive from the public a most gener- 
ous support. In closing, we will quote from a letter 
written by Thomas Barry, Esq., a short extract, which, 
though not intended for publicity, is appropriate to the 
times. It was written a year ago : — 

" The drama is firmly planted in New England for 
good or for evil; you cannot crush it by prejudice, or 
destroy it by misplaced religious enthusiasm. The 
public can make a theatre a blessing or a curse. In 
all ages and in all lands history fully proves that the 



RECORD OF THE BOSTON STAGE. 479 

stage has flourished most, and been most generally 
upheld, where taste is most refined, and manners 
softened by the influence of civilization. Where liberty 
breathes, there the drama exists ; and it is worthy of 
remark, that it flourishes only in those States that are 
not cursed by despotism. Much of the hostility to the 
drama at present existing in the Eastern States, is 
doubtless inherited by the people from their ancestors, 
who looked with horror on the profligacy of Charles 
the Second, when, imitating the contagious example of 
the monarch, the English nation became abandoned to 
gross sensuality. The arts were prostrated in the cause 
of licentiousness, and the drama did not escape the con- 
tamination. You will have, sooner or later, a first-class 
theatre in Boston, and if properly built and properly 
conducted, it will prove a boon to the public, and a 

FORTUNE TO THE MANAGER." 

These are the prophetic words of a veteran actor and 
manager ; may we live to see them historical facts in 
some future Record of the Stage in Boston. 






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